1922 


Apr.21 
NeAmB 


x 


=wMASTERPIECES OF MODERN E: ‘CHINGS 


SUPERB IMPRESSIONS OF 
NOTABLE EXAMPLES BY 


CAMERON, WHISTLER, ZORN, HADEN 
BONE, McBEY, LEVY, LEPERE 


THE DISTINGUISHED COLLECTION 


OF 


WILLIAM M. BULLIVANT, Esa. 


OF BOSTON, MASS. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON FRIDAY, APRIL 21ST, 1922 
AT 8:15 O CLOCK IN THE EVENING 
UNDER THE MANAGEMENT OF 
THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 
NEW YORK CITY 


a 
\ 


THE AMERICAN ART ASSOCIATION oe 
DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION Rg ee 
TEXT AND TYPOGRAPHY 


ON PUBLIC EXHIBITION 
Bl THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23RD STREET 
BEGINNING MONDAY, APRIL 17, 1922 
AND CONTINUING UNTIL THE TIME OF SALE 


MASTERPIECHKS OF MODERN ETCHINGS 
BY CAMERON, WHISTLER, ZORN, HADEN 
BONE, McBEY, LEVY, AND LEPERE 
THE DISTINGUISHED COLLECTION 


OF 


WILLIAM M. BULLIVANT, ESQ. 


OF BOSTON, MASS. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF MR. BULLIVANT 
ON FRIDAY, APRIL 21ST, 1922 
AT. 8:15 O CLOCK IN THE EVENING 
AT THE AMERICAN ART GALLERIES 


DAVID YOUNG CAMERO 
THE FIVE SISTERS—YORK MINSTER 
| No. 53 ] 


ILLUSTRATED CATALOGUE OF 


MASTERPIECES OF MODERN ETCHINGS 1X 
SUPERB IMPRESSIONS OF EXAMPLES BY oe. 


CAMERON, WHISTLER, ZORN, HADEN 
BONE, McBEY, LEVY, AND LEPERE 


THE DISTINGUISHED COLLECTION 
OF 
WILLIAM M. BULLIVANT, ESQ. 


OF BOSTON, MASS. 


TO BE SOLD WITHOUT RESERVE OR RESTRICTION 
BY ORDER OF MR. BULLIVANT 
ON APRIL 21ST, 1922 
AT 8:15 O CLOCK IN THE EVENING 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, or LAYSo 0 
THE AMERICAN ART ASSOCIATION, ManacGers 


NEW YORK CITY 


rs. 


o 


= f f 2 


—s 
A 
oe 


Conditions of Sale 


1. Rejection of Bids. Any bid which is not commensurate with the value of the article 
offered or which is merely a nominal or fractional advance may be rejected by the auctioneer 
if in his judgment such bid would be likely to affect the sale injuriously. 


2. The Buyer. The highest bidder shall be the buyer, and if any dispute arises between two or 
more bidders, the auctioneer shall either decide the same or put up for resale the lot so in dispute. 


3. Identification and Part Payment by Buyer. The name of the buyer of each lot 
shall be given immediately on the sale thereof and, when so required, each buyer shall sign a 
card giving the lot number, amount for which sold, and his or her name and address. 
Payment at the actual time of the sale shall be made of all or such part of the purchase 
prices as may be required. 
If the two foregoing conditions are not complied with, the lot or lots so purchased may at 
the opinion of the auctioneer be put up again and resold. 


4. Risk After Purchase. Title passes upon the fall of the auctioneer’s hammer and 
thereafter neither the consignor nor the Association is responsible for the loss or any damage 
to any article occasioned by theft, fire, breakage or any cause. 


5. Delivery of Purchases. Delivery of any purchases will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made at the place of sale or at the storage warehouse to which purchases 
may have been removed. 

Deliveries at the American Art Galleries will be made only between the hours of nine a. m. 
and one p. m. on sales’ days and on other days—except holidays, when no deliveries will be 
made—between the hours of nine a. m. and five p. m. 

Deliveries at places of sale other than the American Art Galleries will be made only during 
the forenoon following the day of sale unless by special notice or arrangement to the contrary. 

Deliveries at the Storage warehouse to which goods may have been sent will be made on any 
day other than holidays between the hours of nine and five. 

Deliveries of any purchases of small articles likely to be lost or mislaid may be made at the 
discretion of the auctioneer during the session of the sale at which they were sold. 


6. Storage in Default of Prompt Payment and Calling for Goods. Articles not 
paid for in full and either not called for by the purchaser or delivered upon his or her order by 
noon of the day following that of the sale will be turned over by the Association to some carter 
to be carried to and stored in some warehouse until the time of the delivery therefrom to the 
purchaser, and the cost of such cartage and storage will be charged against the purchaser and 
the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. 
Note: The limited space of the Delivery Rooms of the Association makes the above require- 
ments necessary, and it is not alone for the benefit of the Association, but also for that of its pa- 
trons, whose goods otherwise would have to be so crowded as to be subject to damage and loss. 


7. Shipping. Boxing or wrapping of purchases is a business in which the Association is in 
no wise engaged, and will not be performed by the Association for purchasers. The Association 
will, however, afford to purchasers every facility for employing at current and reasonable 
rates carriers and packers; doing so, however, without any assumption of responsibility on its 
part for the acts and charges of the parties engaged for such service. 


8. Guaranty. The Association exercises great care to catalogue every lot correctly and 
endeavors therein and also at the actual time of sale to point out any error, defect or imperfec- 
tion, but guaranty is not made either by the owner or the Association of the correctness of 
the description, genuineness, authenticity or condition of any lot and no sale will be set aside 
on account of any incorrectness, error of cataloguing or imperfection not noted or pointed 
out. Every lot is sold “as is” and without recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the Association will 
give consideration to the opinion of any trustworthy expert to the effect that any lot has been 
incorrectly catalogued and in its judgment may thereafter sell the lot as catalogued or make 
mention of the opinion of such expert, who thereby will become responsible for such damage 
as might result were his opinion without foundation. 


9. Buying on Order. Buying or bidding by the Association for responsible parties on 
orders transmitted to it by mail, telegraph or telephone will be faithfully attended to without 
charge or commission. Any purchases so made will be subject to the foregoing conditions of 
sale except that in the event of purchases consisting of one or more books for one who has not 
himself or through his agent been personally at the exhibition or sale, any book may be re- 
turned within ten days of the date of sale and will be refunded the purchase money therefor, 
if the book in any material manner differs from its catalogue description. 

Orders for execution by the Association should be written and given with such plainness as 
to leave no room for misunderstanding. Not only should the lot number be given, but also the 
title, and bids should be stated to be so much for the lot, and when the lot consists of one or 
more volumes of books or objects of art, the bid per volume or piece should also be stated. If 
the one transmitting the order is unknown to the Association, a deposit should be sent or 
reference submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale or any session thereof will be furnished by the 
Association at charges commensurate with the duties involved in copying the necessary 
information from the records of the Association. 


AMERICAN ART ASSOCIATION 
American Art Galleries 
Madison Square South 
New York City 


At THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


THE COMPLETE AND NOTABLE COLLECTION FORMED 
DURING THE PAST MANY YEARS BY, AND BELONGING TO, 
THE DISCRIMINATING AND DISTINGUISHED COLLECTOR, 

MR. WILLIAM M. BULLIVANT, OF BOSTON, MASS. 


With the exception of 8 of the 226 prints, all were framed for Mr. Bullivant, 
and these frames will be presented to the purchasers of the prints to whom they 
belong. The prints, however, will be exhibited in the customary manner, so that 


full examination thereof can be made. 


PRtpAYyY EVENING, APRIL: 21st, AT 8:15 O’CLOCK 


MUIRHEAD BONE 


Contemporary Scotch Etcher, born in 1876 near Glasgow; living in London. 
He has achieved renown by subtle drypoints and masterful drawings. “One of 
the most artistic of all the British etchers, a consummate master of the drypoint 
medium.”—Herman Struck. 


BONE, MUIRHEAD 


1. BREWHOUSES, SOUTHAMPTON. Drypoint. 
i) Campbell Dodgson, No. 151. ONLY PUBLISHED STATE. 
i 


Proor, Signed by the artist in pencil,—Muirhead Bone. SUPERB Im- 


PRESSION, on Japan paper. 
Height, 6; length, 876 inches. 


BONE, MUIRHEAD 
2. SoutH GATE, Kinc’s Lynn. Drypozint. 
Campbell Dodgson, No. 153. Second State of two. 


PRESSION, on Japan paper. 


3, FISHER’S CREEK, King’s Lane. Drypoint. 
Campbell Dodgson, No. 155. Second State of two. 
Proor, Signed by the artist in pencil,—Muirhead Bone. SUPERB IM- 
4 PRESSION, on Japan paper. 
- Height, 4; length, 10 inches. 


Proor, Signed by the artist in pencil,—Muirhead Bone. SUPERB IM- 


Height, 8; width, 7 inches. wk, Ta 
: hw ‘\ a 

vA sual, A 
BONE, MUIRHEAD | - tPyget 


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Toe W. M. BuLuiIvAant COLLECTION OF HTCHINGS 


Friday Evening, April 21st 


+ BONE, MUIRHEAD 


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4. A Ratny Nicut In Rome. Drypoznt. 
Not in Campbell Dodgson. 
Proor, Signed by the artist in pencil,— Muirhead Bone. SuPERB Im- | 
PRESSION, on Japan paper. 
Height, 12; width, 8% inches. 
[See Illustration] 
BONE, MUIRHEAD 
5. SAN FERNANDO IN CELESTO. Drypoznt. 
Not in Campbell Dodgson. 
Proor, Signed by the artist in pencil,— Muirhead Bone. SUPERB Im- 
PRESSION, on Japan paper. 
Height, 97%; length, 1178 inches. 


BONE, MUIRHEAD 


6. ‘PICCADILLY Circus. Drypoint. 
Not in Campbell Dodgson. 
ProoFr, Signed by the artist in pencil,—Muirhead Bone. SupPERB Im- 
PRESSION, on Japan paper. 
Height, 1134; length, 1478 inches. 
“7144/5 /6, New Bond Street, 
London, W. 
July, 1915, 
“MUIRHEAD BONE. PICCADILLY CIRCUS; 10915 
“The edition has been increased from 100 to 120 and 5 presentation copies, since 
the announcement of the plate. Should you in consequence prefer not to keep 
your impression, we shall be happy to take it back. On the other hand, if you 
decide to retain it, as the whole of the proceeds of the Etching are being pre- 
sented by Mr. Muirhead Bone and ourselves to the 


“BELGIAN RELIEF FUND, 


“we should esteem it a favour if you would kindly let us have a cheque at your 
early convenience. 
P. & D. Colnaghi & Obach.” 


BONE, MUIRHEAD 


7. A ROAD IN THE MARCHE. Drypoint. 
/ Not in Campbell Dodgson. 
ProoFr, Signed by the artist in pencil—Muirhead Bone. SUPERB Im- 
PRESSION, on Japan paper, in perfect condition. 
Height, 7%; width, 658 inches. 


FELIX BUHOT 


Celebrated French Etcher, born at Valognes, 1847: died in Paris, 1898. 


BUHOT,. FELIX 
8. La FALAISE. BAIE DE SAINT-MALo. Etching, Aquatint and Drypoint. 


f Boucard, No. 165. 
Signed on the plate, and with the red owl stamp. FINE IMPRESSION, in 


4 D° brown ink, on Dutch paper. 


Height, 9; length, 115 inches. 


ikem 


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UIRHEAD BONE 


M 
A RAINY 


ROME 


NIGHT IN 
[ No. 4] 


THe W. M. BULLIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


DAVID YOUNG CAMERON 


Contemporary Painter-Etcher of high merit. Born at Glasgow in 1865. He 
is a Fellow of the Royal Society of Painter-Etchers, and probably the youngest 
member of that distinguished body. Sir Francis Seymour Haden, its president, 
writes of Mr. Cameron with an enthusiasm which is unusual with him—hailing 
him as a hopeful successor to the masters of the previous generation, and cor- 
dially recognizing in his work that precious gift of personality without which all 
mere technical skill is in vain. 

“In examining Mr. Cameron's etchings it is not easy to designate his forte. 
Meryon etched picturesque buildings magnificently, but his portraits are simply 
bad. Whistler has triumphed in a wide field, but he seems to care nothing for 
the restful charms of rural landscape—where Seymour Haden is supreme. 
Mr. Cameron already shows himself equally at home when delineating pure 
landscape, views of buildings and shipping, interiors, or portraits.”.—FREDERICK 
KEPPEL. 


CAMERON, DAVID YOUNG 


9. THE PALACE, STIRLING CASTLE. Etching. 
Rinder, No. 174. Only State. 


Pinte! Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
¢ SION, on French paper, in perfect condition. 
Sern sy Height, 10%; width, 534 inches. 
jp \\/" Impressions of this etching of Stirling Castle, built by King James the Fifth, 
. a ye the first by the artist to attract much attention, vary greatly in the amount of 
Y \' es ink left on unworked surface. 
/ 


CAMERON, DAVID YOUNG 


10. LecroptT. Eéching. 
Rinder, No. 177. Second State of two. 
Sa Proor, Signed by the artist in pencil_—D. Y. Cameron. FINE IMPRES- 
0° _ SION, on French paper. Number of printer’s folds across upper left 
\ rd and right corners. About 12 tmpressions taken. 
x iv Height, 7; length, 13 13/32 inches. 


/ 


\v 


CAMERON, DAVID YOUNG 
11. NorTH ITALIAN SET, TITLE-PAGE. Eiéching. 
Rinder, No. 203. Only State. 
/ ProorF, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
A 9° \7 SION, on French paper, in perfect condition. 
44 4 Height, 8 15/32; width, 61% inches. 
Wwe 


CAMERON, DAVID YOUNG 


12. SAINT MARK’s, VENICE. No. 1. Etching. 
Rinder, No. 204. Second State of two. 


5? Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
fod SION, on French paper, in perfect condition. 
A) » No. Lin North Italian Set. 
i ‘y \\” Height, 1376; width, 8 15/16 inches. 
5 re oar 
f a 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


CAMERON, DAVID YOUNG 
13. Veronica, A Marp oF Itaty. Etching. 
Rinder, No. 205. Only State. 
ProoF, Signed by the artist in pencil,—D. Y. Cameron. SuPERB IMpRES- 
) SION, on Dutch paper, in perfect condition. 
: \ No. 2 in North Italian Set. 
a ,O Height, 1114; width, 5 15/32 inches. 


“Reminiscent of the portrait of Bianca Sforza (?) in the Ambrosiana, Milan, attri- 
\ buted to Ambrogio da Predis.”—RINDER. 


CAMERON, DAVID YOUNG 


14. A VENETIAN CONVENT. Eiching. 
Rinder, No. 207. Only State. 
7 Proor, Signed by the artist in pencil—D. Y. Cameron. Supers Im- 
O: PRESSION, on French paper, in perfect condition. 
4 No. 4in North Italian Set. 
\ eG > 16 length, 8 15/32 inches. 


CAMERON, DAVID YOUNG 


I5. CHURCH INTERIOR, VENICE. Etching. 
Rinder, No. 219. Second State of two. 
Pia Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPREs- 
SION, on French paper, in perfect condition. 
No. 16 in North Italian Set. 
Height, 958; width, 434 inches. 


CAMERON, DAVID YOUNG 


16. SKETCH OF VENICE. Etching. 
Rinder, No. 221. Only State. 
{ Proof, Signed by the artist in pencil_—D. Y. Cameron. SUPERB IMPRES- 
: SION, on French paper, in perfect condition. 
No. 18 in North Italian Set. 
\ Height, 2%; length, 758 inches. 


CAMERON, DAVID YOUNG 


ly FARM GATEWAY, CAMPAGNETTA. Etching. 
Rinder, No. 222. Third State of four. 


0 ° Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
uy SION, on French paper, in perfect condition. 
N Height, 1038; width 6% inches. 


CAMERON, DAVID YOUNG 
18. THE BRIDGE OF SIGHS (Venice). Eéching. 
Rinder, No. 223. Only State. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


SION, on French paper, in perfect condition. 
Height, 10 5/6; width, 67 inches. 


THe W. M. BuLuivAnt COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


CAMERON,.DAVID YOUNG 
19. THE PALACE Doorway (Venice). Etching. 


4 Rinder, No. 225.. Only State. 

Proor, Signed by the artist in pencil,—D. Y. Cameron. REMARKABLY 
( 0: FINE IMPRESSION, touched in pencil, on Japan paper. 

J No. 22 in North Italian Set. 


a7 


Height, 9 7/16; length, 11 29/32 inches. 


CAMERON, DAVID YOUNG 
20. THE WINE Farm, NortH ITALy. Fiching. 
Rinder, No. 227. Second State of two. 
BA Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPREs- 
SION, on Dutch paper, in perfect condition. 
\ J : Height, 8 1/16; length, 9 15/16 inches. 


The interior of an Italian wine farm. 


CAMERON, DAVID YOUNG 


21. PASTORAL, NorRTH ITALY. Etching. 
Rinder, No. 228. Only State. 
vd Proof, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
ee st sion, on M. B. M. paper, in perfect condition. 
\ ap No. 25 in North Italian Set. 
Height, 3 9/16; length, 6 17 /32 inches. 


CAMERON, DAVID YOUNG 


22. HOLYROOD IN 1745. FEiching. 

Rinder, No. 231. Only State. 

PRrooF, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
ae SION, on Japanese Vellum, in perfect condition. 
AP Height, 13 31/32; length, 19 7 inches. 
Pe te “A house of many memories. . . . There Prince Charlie held his phantom 
A re levées | and in a very gallant manner represented a fallen dynasty for some 
hours.” —R. L. STEVENSON. 


CAMERON, DAVID YOUNG 
if 23. CouR DES BONS ENFANTS, ROUEN. Etching. 
Rinder, No. 277. Second State of three. 
VAD? Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMpPREs- 
\ ve SION, on Dutch paper. Small hole in upper left margin. 


Height, 9 3/32; length, 12 15/32 inches. 


CAMERON, DAVID YOUNG 


a¢ 24. A VENETIAN PALace. Etching. 

; ut Rinder, No. 282. Only State. 

ni ProorF, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
SION, on French paper, in perfect condition. 
| Height, 14 11/16; width, 8 3 /32 inches. 
4 | Shows the facade of Desdemona’s house, Grand Canal. 
Fg 
~~ 


oO 4 


a 0 


& Hees Bid Ni ie SS, ait OS, AOR Ie Ry a He aN we un c8t  r  g o gOT a 


DAVID YOUNG CAMERON 
THE CANONGATE TOLBOOTH 
[No. 37] 


THe W. M. BuLLUIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


CAMERON, DAVID YOUNG 
25. WATERLOO PLAcE. Etching and Drypoint. 
Rinder, No. 290. Second State of two. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPRES- 


J ay : SION, on French paper, in perfect condition. 
Fg OO No. 2 in London Set. 
| AN : Height, 7 7/16; length, 8 31 /32 inches, 
CAMERON, DAVID YOUNG 
26. HousE oF JOANNIS Darius, Etching and Drypoint. 
Rinder, No. 309. Second State of two. 
/ Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPREs- 
vd i SION, on Japan paper, in perfect condition. 
i Y - Height, 12 21/32; width, 6 17/32 inches, 
CAMERON, DAVID YOUNG 
27. Ca pv’Oro. Etching touched with Drypornt. 
/ Rinder, No. 310. Second State of two. 
¢ By Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPRES- 
fat Vied SION, on Japan paper, in perfect condition. 
r\ o Height, 10 15/16; width, 7 15/16 inches. 
CAMERON, DAVID YOUNG 
28. LALEHAM, Etching and Drypoint. 
. "3 Rinder, No.3313.4 Uhird*>tate ofitires, 
¢ \ PRoor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
EN \ SION, on Japan paper, in perfect condition. 
nb D }” Height, 7 21-/32; length, 12 inches, 
CAMERON, DAVID YOUNG 
29. St. LAUMER, Buots, Etching touched with Drypoint. 
Rinder, No. 351. Third State of three. 
Proor, Signed by the artist in pencil,—D. Y. Capen FINE IMPRES- 
| SION, on French paper, in perfect condition. 
re Height, 12 15/16; width, 7% inches. 
“3 >) . The remains of Saint Laumer, a pious anchorite who died at Chartres in the 
4 ay \_.~ sixth century, were finally brought to Blois, where in 1138 the Benedictine 
» : \ monks began building this church to receive the relics. The church was dese- 
wa crated during the Terror, and when reconsecrated received the name of St. 
TS Nicolas, from a parish annexed to the monastery in 1302. 


CAMERON, DAVID YOUNG 


30. MONTIVILLIERS. Etching and Drypoint. 
Rinder, No. 355. Third State of three. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
SION, on French paper, in perfect condition. 
j Height, 656; width, 81% inches. 


DAVID YOUNG CAMERON 
THE GATEWAY, BRUGES 


[ No. 43] 


THe W. M. Butuivant CoOLLectTION oF ETCHINGS 
Friday Evening, April 21st 


CAMERON, DAVID YOUNG 
31. NorTH PorcH, HONFLEUR. Etching. 
| Rinder, No. 360. Fourth State of four. 
Proor, Signed by the artist in pencil—D. Y. Cameron. FINE IMPRES- 
SION, on French paper, in perfect condition. 
Height, 14 27 /32; width, 6 17/32 inches. 


CAMERON, DAVID YOUNG 
32. SAINT GERMAIN L’AUXERROIS. Etching and Drypoint. 
Rinder, No. 362. Second State of three. 
ProoF, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPRES- 
; SION, on Japan paper, in perfect condition. 
( NO@2un farts oer 


AO. Height, 1258; width, 61% inches. 
» “From the little tower of this church, where Watteau attended Mass, the signal 
for the massacre of St. Bartholomew was given on August 24, 1572..—RINDER. 
CAMERON, DAVID YOUNG 
33. RESTAURANT CAVALIER. Etching and Drypoint. 
Rinder, No. 365. Fourth State of four. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPREsS- 
oO” SION, on French paper, in perfect condition. 
cv g: re, No. 5 1n Paris Sei. 


\ 


Height, 8 1/16; length, 9 1/16 inches. 


CAMERON, DAVID YOUNG 
34. OLD Saumur. Etching and: Drypoint. 
Rinder, No. 371. Fifth State of five. 
/ Proor, Signed by the artist in pencil,—D. Y. Cameron. SuPERB IMPRES- 
ston, on Dutch paper, in perfect condition. Only 30 impressions taken. 


f°: Height, 1058; width, 634 inches. 


“Balzac in ‘Eugénie Grandet’ graphically described one of the half deserted 
quarters of Saumur.”—RINDER. 


CAMERON, DAVID YOUNG 


35. THE AVENUE. Eiching and Drypoint. 
Rinder, No. 373. Third State of four. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


WA 0 SION, on Japan paper, in perfect condition. 


Height, 5 11/16; length, 6 7 /32 inches. 


A Gargunnock subject. 


CAMERON, DAVID YOUNG 


36. MURTHLY ON THE Tay. Hiching and Drypoint. 
Rinder, No. 376. Second State of two. 
{ Proor, Signed by the artist in pencil_—D. Y. Cameron. FINE IMPRES- 
SION, on French paper, in perfect condition. 


, 


“The old castle of Murthly was used as a hunting-seat by some of the Kings of 
Scotland.—RINDER.” 


ty Height, 378; length, 10 5/32 inches. 


! 
i 
i 


NG CAMERON 


7 
| 
) 


FLD OG 


DA\ 


DAMME 
[ No. 47] 


Toe W. M. BULLIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


CAMERON, DAVID YOUNG 
37. THE CANONGATE TOLBOOTH. Etching and Drypoint. 
Rinder, No. 378. Third State of three. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
/ SION, on Japan paper, in perfect condition. 
Height, 12 9/16; width, 5 5/16 inches. 


i ' “The old Tolbooth gaol, Edinburgh, at the north-west corner of St. Giles’, was 
2, ‘the Heart of Midlothian, a place old in story and namefather to a noble book.” 
—RINDER. 


[See Illustration] 


CAMERON, DAVID YOUNG 


38. St. MERRI, Paris. Hiching and Drypoint. 
Rinder, No. 379. Fourth State of five. 


ee fe Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
may.) SION, on Japan paper, in perfect condition. 
> Height, 1044; width, 438 inches. 


“The church of St. Merri, formerly St. Médéric, is in the Rue St. Martin, Paris, 
to the north-east of the Tour St. Jacques.” —RINDER. 


CAMERON, DAVID YOUNG 


39. PLUSCARDEN. Ftching and Drypoint. 
Rinder, No. 380. Fourth State of four. 
‘3 PRrooF, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
O SION, on Japan paper, in perfect condition. 
: Height, 5 31/32; width, 4 23 /32 inches. 


“The Priory of Pluscarden was founded by Alexander II. in 1230, and dedicated 
to St. Andrew.”—RINDER. 


< Ww 


CAMERON, DAVID YOUNG 
40. STILL WATERS. Etching and Drypoint. 
Rinder, No. 381. Fourth State of four. 
f Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
ao ED ta SION, on Japan paper, in perfect condition. 
3 } 7 Height, 5 29/32; length, 12 inches. 
\ ee “An etching of the Tay.”—-RINDER. 


CAMERON, DAVID YOUNG 
41. Rosin’s Court. Etching and Drypoint. 
Rinder, No. 385. Fifth State of five. 
\\ _Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPREs- 
h 0 ” SION, on Japan paper, in perfect condition. 
a Height, 7; width, 5 5/16 inches. 


CAMERON, DAVID YOUNG 
42. Mar’s Work, STIRLING. Etching and Drypoint. 
Rinder, No. 386. Fourth State of four. 
fi Proof, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
Oi * SION, on Dutch paper, in perfect condition. 
Height, 9 29/32; width, 634 inches. 


¥ 


4 


DAVID YOUNG CAMERON 
JHE BELFRY OF BRUGES 
[ No. 48] 


THe W. M. BULLIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


CAMERON, DAVID YOUNG 
43. THE GATEWAY OF BruGEs. Fiching and Drypoint. 


Rinder, No. 387. Third State of three. 
PRrooF, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


a oe ; SION, on Japan paper, in perfect condition. First of the Belgian Set. 
h Height, 12 29/32; width, 7 15/32 inches. 


Shows the Porte de Grand, with a distant view of the Belfry 


ele 
. [See Illustration] 


CAMERON, DAVID YOUNG 
44. La Rocue. Etching and drypoint. 
Rinder, No. 388. 
artist in pencil—D. VY. Cameron. SUPERB In- 


Proor, Signed by the 
PRESSION, on French paper, in perfect condition. 


Mo. 2 in Belgian Set. 


oe \\ os Height, 6 9/16; length, 8% inches. 


“La Roche, with its grim castle, is on the Ourthe.”—RINDER. 


CAMERON, DAVID YOUNG 
45. La Matson Notre, BruGEs. Etching and Drypoint. 


Rinder, No. 389. Only State. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPREs- 


SION, on Dutch paper, in perfect condition. 


here : No. 3 in Belgian Set. 
ln Height, 12144; width, 434 inches. 


CAMERON, DAVID YOUNG 
46. THE Meuse. Etching and Drypoint. 


» Rinder, No. 390. Only State. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


7 SION, on Japan paper, in perfect condition. 


mn 
(J ; ; No. 4 in Belgian Set. 
\ \y)“Height, 614; length, 14 27/32 inches. 


The citadel of Dinant is visible on the right bank of the river 


CAMERON, DAVID YOUNG 
DamME. Etching and Drypoint. 


47: 
Rinder, No. 391. Third State of three. 
/ Proof, Signed by theartist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
Pidsct oreo SION, on Japan paper, in perfect condition. 
Gy Height, 104; width, 7 13/32 inches. 
i] ' “Damme was once the fortified port of Bruges, about three miles to the north- 
¢ east of which it lies." —RINDER. 


[See Illustration] 


p= aad 


sg 


VID YOUNG CAMERON 


DA 


NOTRE DAME, DINANT 


[ No. 50] 


THe W. M. BuLuuiIvant COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


CAMERON, DAVID YOUNG 


48. THE BELFRY OF BRUGES. Etching and Drypoint. 
Rinder, No. 392. First State of two. 


Proof, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


SION, on French paper, in perfect condition. 


= 
uf No. 6 in Belgian Set. 

See, Height, 14 15/16; width, 5 9/32 inches. 

0, “The Belfry was etched during the great annual festival of, Le Saint Sang, when 
O the booths indicated are erected in the square at its base." —RINDER. 


[See Illustration] 


CAMERON, DAVID YOUNG 


49. OxLp La RocHe. Etching and Drypoint. 
Rinder, No. 393. Second State of three. 
/ 6) Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
(p SION, on Japan paper, in perfect condition. 
\ No. 7, in Belgzan Set. 
Height, 8 9/16; length, 10 1/32 inches. 


CAMERON, DAVID YOUNG 


50. NoTRE DAME, DINANT. Etching and Disha 
Rinder, No. 394. Third State of three. 
PRroor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


/ MG SION, on Japan paper, in perfect condition. 
( Ho * f No. 8 in Belgian Set. 
x Ly “Height, 13 15/32; width, 6 11 /16 inches. 
p= 
\ nr [See Illustration] 


CAMERON, DAVID YOUNG 
51. Drnant. Etching and Drypoint. 
Rinder, No. 395. Third State of three. 
PRroor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
SION, on Dutch paper, in perfect condition. 
No. 9 in Belgian Set. 
Height, 7 29/32; length, 13 15/16 inches. 


Notre Dame is visible behind the house fronts on the left. 


ff fon, 
i) Vi t . 


CAMERON, DAVID YOUNG 
52. A VALLEY OF THE ARDENNES. Etching and Drypoint. 
Rinder, No. 396. Second State of two. 
PRroor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
f SION, on Japan paper, in perfect condition. 
OA 0 Height, 7 29/32; length, 13 15/16 inches. 


wee “Notre Dame is visible behind the house fronts on the left.”—RINDER. 


7, 
shea, : 


DAVID YOUNG CAMERON 


ETIENNE 
[ No. 55] 


OLD ST. 


THe W. M. BuLuIvANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


CAMERON, DAVID YOUNG 


53. THE FIVE SISTERS, YORK MINSTER. Etching and Drypoint. 
Rinder, No. 397. Third State of four. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPREs- 
SION, on Japan paper, in perfect condition. Only 30 impressions taken. 
THE ARTIST’S MASTERPIECE. 
Height, 1538; width, 7% inches. 
“This, perhaps the loveliest of great English windows, is also more than any other 


a subject for the etcher, as its beauty is less that of jewel-colour than of a light- 
interpenetrated design.” —RINDER. 


[See Frontispiece for Ilustration] 


CAMERON, DAVID YOUNG 
54. AFTERGLOW (OR EVENING) ON THE FINDHORN. Etching and Drypoint. 


f Rinder, No. 399. Second State of two. 
\SL-7 "sro Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPREs- 
\ 


4° SION, on Japan paper, in perfect condition. 
> Height, 9; width, 8 1/16 inches. 
\y 
CAMERON, DAVID YOUNG 
55. Oxp St. ETIENNE. Etching and Drypoint. 
Rinder, No. 400. Fourth State of four. 
n0 PRrooF, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPREs- 
eee SION, on Japan paper, in perfect condition. 
A» Height, 1678; width, 8 11 /32 inches. 
y (| “Old St. Etienne, Caen, now used as a warehouse, should not be confused with 
fi | St. Etienne, the church of the Abbaye-aux, founded by William the Conqueror 
jj in 1062.”—RINDER. 


[See Illustration] 


CAMERON, DAVID YOUNG 


56. THE LITTLE DEvIL OF FLORENCE. Etching and Drypoint. 
of Rinder, No. 401. First State of two. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
$ A * SION, on Japan paper, in perfect condition. 
12 Height, 1434; width, 8 21 /32 inches. 
f “The original bronze is in the Bargello, Florence. A copy, the subject of the 


etching, is on the S. W. corner of the Plazzo della Cavallaia, or dei Vechietti, 
opposite the Strozzi Palace.”—RINDER. 


CAMERON, DAVID YOUNG 


57. CRAIGIEVAR. Etching and Drypoint. 
Rinder, No. 402. Third State of three. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
SION, on Japan paper, in perfect condition. 
Height, 9 7/16; length, 13 27 /32 inches. 
7 a _“Craigievar, ‘set in its own valley betwixt the two main ways of Dee and Don, 
L- 4+ < \ without and within a fine example of Scottish baronial architecture, was fin- 
} ished in 1610, seven years after the Union. D. Y. Cameron's picture of the en- 


chanting castle was exhibited at the Royal Scottish Academy in 1909. — 
Lin RINDER. 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


CAMERON, DAVID YOUNG 
58. RAmMEsEs II. Etching and Drypoint. 
Rinder, No. 406. Second State of two. 
rh Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPREs- 
OD - SION, on Japan paper, in perfect condition. 
iA Height, 11 13/16; width, 6 13/16 inches. 


“This etching is from an alabaster figure in the Cairo Museum portraying the 
Pharaoh of the Captivity. —RINDER. 


7 CAMERON, DAVID YOUNG 
59. My Litr_e Lapy or Luxor. Etching and Drypoint. 
Rinder, No. 407. Fifth State of five. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


 arel SION, on Dutch paper, in perfect condition. 
2 5 ' Height, 1178; width, 5 29/32 inches. 


This etching is from a mirror said to belong to Dynasty XVIII. 


CAMERON, DAVID YOUNG 
60. AN EcypTiAN Mirror. Etching. 
Rinder, No. 408. Second State of two. 
Proor, Signed by the artist in pencil,—D. Y. Cameron, SUPERB IMPRES- 
5 a SION, on French paper, in perfect condition. 
?- Height, 11 27 /32; width, 6 13 /16 inches. 
This etching is from a mirror said to belong to Dynasty XVIII. 


CAMERON, DAVID YOUNG 


61. THE TurkisH Fort. Etching and Drypoint. 
Rinder, No. 409. First State of five. 


4 Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
SION, on Japan paper, in perfect condition. 
Height, 5 15/32; length, 1058 inches. 


“This Fort is on the Mokattam Hills, near Cairo.”—RINDER. 


CAMERON, DAVID YOUNG 
62. THE Mosque Doorway. Etching and Drypoint. 
Rinder, No. 413. Third State of four. 
Proor, Signed by the artist in pencil,—D. Y. Cameron, SUPERB IMPREs- 
SION, on Japan paper, in perfect condition. Only 42 impressions taken. 
Height, 16 13 /32; width, 7 15 /16 inches. 


CAMERON, DAVID YOUNG 


63. RoyaL ACADEMY, SCOTLAND. Drypoint. 


Not in Rinder. ; 
Proor, Signed by the artist in pencil,—D. Y. Cameron, VERY FINE 


IMPRESSION, on Japan paper, in perfect condition 
Height, 7%; length, 137% inches. 


THe W. M. BuLuuIvANntT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


CAMERON, DAVID YOUNG 
64. AMSTERDAM. Etching. 
Not in Rinder. 
PRroor, Signed by the artist in pencil,—D. Y. Cameron, SUPERB IMPRES- 
SION, on Japan paper, in perfect condition. 
Height, 1478; width, 103 inches. 


CAMERON, DAVID YOUNG 
65. HELL’s HoLe. Drypoznt. 
Not in Rinder. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


SION, on French paper, in perfect condition. 
Height, 1034; length, 147% inches. 


CAMERON, DAVID YOUNG 
66. INVERLOCKEN CASTLE. Drypoint. 
Not in Rinder. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 


SION, on Dutch paper, in perfect condition. 
Height, 87%; length, 137 inches. 


CAMERON, DAVID YOUNG 
67. KINCARDINE. Drypoint. 
Not in Rinder. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. FINE IMPREs- 
SION, on Dutch paper, in perfect condition. 
Height, 41%; length, 12% inches. 


CAMERON, DAVID YOUNG 
68. OL_p Museum, BEAuvais. Etching and Drypoint. 
Not in Rinder. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. SUPERB IMPRES- 
SION, on French paper, in perfect condition. 
Height, 7; length, 123 inches. 


CAMERON, DAVID YOUNG 
69. SAINT AIGNON. Etching. 
Not in Rinder. 
Proor, Signed by the artist in pencil,—D. Y. Cameron. VERY FINE 


IMPRESSION, on French paper, in perfect condition. 
Height, 9%; width, 4% inches. 


es 
-s 7. as . 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


CLAUDE GELLEE, Called “Claude Lorrain” 


Born 1600, at Champagne, a village on the Moselle, then in the ancient province 
of Lorraine: died in Rome, 1682. With the exception of his boyhood and two 
years of wandering (as pastry cook) the whole of his life was passed and all of 
his work done in or near Rome. 


CLAUDE GELLEE, Called “Claude Lorrain” 
69A. LIBER VERITATIS; or a Collection of Prints, after the Original Designs of 
Claude le Lorrain; in the Collection of his Grace the Duke of Devon- 
shire. Executed by Richard Earlom, in the Manner and Taste of the 
Drawings . . . London: (Vols. I and II) Messrs. Boydell and Co., 
no date; (Vol. III) Hurst, Robinson, and Co., 1819. 
Portrait of John Boydell by Facius after Gilbert Stuart (dated 1802) Vol. 
I; of Claude by Josiah Boydell, Vol. II; of Earlom by Lupton after Stuart, 
Vol. IIT; and 300 finely engraved plates by Earlom after Claude’s designs. 
3 vols. folio, half dark red straight-grain morocco, gilt panelled backs, 
uncut, edges of bindings rubbed, margins of some plates lightly foxed. 
SECOND IssuE. The text in this issue is printed on white paper. 


GEORGE LOUIS PALMELLA BUSSON DU MAURIER 
Celebrated English Artist and Novelist. Born in Paris, March 6, 1834: died 
in London, October 6, 1896. Joined the regular staff of “Punch” 1864 as suc- 
cessor to John Leech. 


DUeMAURIER, G,.L. P..B. 
70. DARWINIAN. Pen-and-Ink Drawing. 

Original drawing signed in lower left corner,—Du Maurier. Composition 
shows two young women seated in a library with a small boy stand- 
ing between them. Very fine drawing. 

Height, 5%; length, 836 inches. 

ELDER SISTER (wishing to show off her small Brother’s accomplishments) .— 
“Now, Jack, who was the First Man?” 


Jack.—‘Adam” ELDER SISTER—“Quite Right! And where did he Live?” 
Jack (who has notions of his own about an earthly Paradise).—“In the Z’logica 


Gardens. 


SIR FRANCIS SEYMOUR HADEN 


Born in London, September 16, 1818: died 1910. Founder and President of 
the Royal Society of Painter-Etchers. “An artist of rare endowment and con- 
summate skill. He is a master of foliage, he has drawn trees magnificently, 
both as to wood and leaves; there is no better stem or branch drawing than his 
in all contemporary art.”—P. G. HAMERTON. 


HADEN, SIR FRANCIS SEYMOUR 
71. KENSINGTON GARDENS. (The Small Plate.) Eiching. 
Harrington, No. 12. Second State of three. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPREs- 
SION, on Japan paper, in perfect condition. Published in Etudes a 
Veau-forte, No. III. 
Height, 614; width, 434 inches. 


THe W. M. BuLuIvAnt COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


HADEN, SIR FRANCIS SEYMOUR 


72. Mytton HAti. Drypoznt. 

Harrington, No. 14. Only Published State. Signed on the plate,— 
Seymour Haden, 1859. FINE RicH IMPRESSION, on Japan paper, in 
perfect condition. EXCEEDINGLY FINE AND RarE. One of the Etudes 
a l’eau-forte, No. XXIV. 

Height, 47%; length, 103 inches. 

[See Illustration] 


“Mytton Hall—which, unlike Mr. Hamerton, I prefer to the Shere—had been 
wrought one year earlier. It shows a shady avenue of yew trees leading to an 
old manor house which receives the full light of the sun: and in that print, early 
as it may seem, was already the breadth of treatment which, as years proceeded, 
became more and more a characteristic of Seymour Haden’s work.” —FREDER- 
ICk WEDMORE, Fine Prints, p. 103. 

“Mytton Hall is an old Henry the Seventh house at which I was in the habit of 
staying for the purpose of salmon fishing in the River Ribble (the Lancashire 
River) which runs past it."-—SEzyMouR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


73. EGHAM. 1859. Etching. 
Harrington, No. 15. Third State of three. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY RICH 
IMPRESSION, on French paper. Published in Kiudes ad l’eau-forte, 1865. 
No xit: 
Height, 478; length, 77 inches. 


“Has the silence of the Open Country.” FREDERICK WEDMORE. 


HADEN, SIR FRANCIS SEYMOUR 


74. ON THE TEst. Etching and drypoint. 

Harrington, No, 20, “Trial Proc), 

Proor, Signed by the artist in pencil,—Seymour Haden. BEAUTIFUL 
IMPRESSION, on thin Japan paper. Few stains, otherwise in perfect 
condition. 

Height, 6; length, 9 inches. 


HADEN, SIR FRANCIS SEYMOUR 


75. A WATER MEaApow. Etching. 
Harrington, No. 21. Second State of two. 
PRrooF, Signed by the artist in pencil,—Seymour Haden. FINE IMPRES- 
sION, on Dutch paper, in perfect condition. 
Height, 6; length, 878 inches. 
“T like this plate—which is saying a great deal.,—SEYMOUR HADEN. 


“A vivacious, happy, sympathetic transcript of a sudden rainstorm in the Hamp- 
shire lowlands, where poplars flourish and grass grows rank. —FREDERICK 


WEDMORE. 


[se ON] 
TIVH NOLLAW 


NHGVH WOOWAUS SIONVU IS 


Tue W. M. Buuuivant COLLECTION oF ETCHINGS 


Friday Evening, April 21st 


HADEN, SIR FRANCIS SEYMOUR 


76. EARLY MORNING, RICHMOND. Etching and Drypoint. 
Harrington, No. 22. First State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
CHOICE IMPRESSION, on Japan paper, in perfect condition. VERY 
RarE. Only a few Impressions in this state. 
Height, 414; length, 1034 inches. 
“The conception of the plate itself has a poetry of its own, and is filled with the 


freshness of the morning.” —P. G. HAMERTON, 
“This was done actually at Sunrise.” SEYMOUR. 


HADEN, SIR FRANCIS SEYMOUR 


77. KENSINGTON GARDENS (The Larger Plate). Hiching. 
Harrington, No. 28. First State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. SUPERB 
IMPRESSION, on French paper. In perfect condition. 
Height, 778%; width, 478 inches. 


“One of the most marvelous pieces of free branch and stem drawing ever done in 
etching.” 


HADEN, SIR FRANCIS SEYMOUR 


78. A By-ROAD IN TIPPERARY. Efching. 
Harrington, No. 30. Second State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. SUPERB 
IMPRESSION, on thin Japan paper, in perfect condition. 
Height, 7%; length, 114% inches. 
[See Illustration] 


HADEN, SIR FRANCIS SEYMOUR 
79. SHERE Mitt Ponp (The Small Plate). Fiching. 
Harrington, No. 37. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPRES- 


SION, on Dutch paper, in perfect condition. 
Height, 41%; length, 656 inches. 


HADEN, SIR FRANCIS SEYMOUR 


80. SHERE MILL Ponp (The Larger Plate). Etching. 
Harrington, No. 38. Second State of two. 
VERY FINE IMPRESSION, on Dutch paper, in perfect condition. One of 
the Etudes a l'eau forte. 
Height, 678; length, 13 inches. 


From the Collection of Sir William Drake. 
“With the single exception of one plate by Claude, this is the finest etching of a 
landscape subject that has ever been executed in the world.”—-P. G. HAMERTON. 


HADEN, SIR FRANCIS SEYMOUR 


81. PORTRAIT OF SEYMOUR HADEN. Etching. 
Harrington, No. 41, Trial Proof B. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
IMPRESSION, on French paper, in perfect condition. 
Height, 734; length, 105 inches. 


[St ON] 
AUVUAddIL NI GVOU-AG V 


N@CGVH WOOWAAS SIONVYU IS 


Tue W. M. BULLIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


HADEN, SIR FRANCIS SEYMOUR 
82. A SUNSET IN IRELAND. 1863. Drypoint. 

Harrington, No. 51. Trial Proof F. 

Proor, Signed by the artist in pencil,—Seymour Haden. EXTREMELY 
RicH IMPRESSION OF GREAT TRANSPARENCY, on thin Japan paper, in 
perfect condition. VERY RARE IN SUCH QUALITY. ONE OF THE FINEST 
IMPRESSIONS KNOWN. 

Height, 5%; length, 8% inches. 

“Haden’s best work in dry-point, and it certainly deserves its reputation of one of 


its author’s masterpieces. The quiet, peaceful sunset behind the dark masses 
of trees makes a plate of exquisite beauty.” ATHERTON CURTIS. 


[See Illustration] 


HADEN, SIR FRANCIS SEYMOUR 


83. BATTERSEA REACH. Fiching. 
Harrington, No. 52. First State of two. 
Signed on the plate,—Seymour Haden, 1863. VERY FINE IMPRESSION, on 
French paper, in perfect condition. 
Height, 6; length, 874 inches. 


HADEN SIR PRANCI SsSENLOUs 


84. WHISTLER’S HouSsE, OLD CHELSEA. Fiching. 

Harrington, No. 54. Second State of two. 

Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPRES- 
SION, on Dutch paper, in perfect condition. Published in Ltude a l’eau- 
forte, No. VIII, 

Height, 678; length, 14 inches. 

“Great care was taken in the drawing of this plate, especially in the foreshortening 
cf the barges, which gave me infinite trouble, I remember. It wore out very 


soon, and had to be destroyed before it had given its full quota of impressions. 
—SEYMOUR HADEN. 


” 


HADEN, SIR FRANCIS SEYMOUR 


85. KENARTH, SOUTH WALES. Etching. 
Harrington, No, 64. Only Published State. 
Proor, Signed by the artist in pencil, —Seymour Haden. FINE IMPRES- 
ston, on Dutch paper. Mounted. Published in Etudes a l’eau-forte, 
No. XIX. 
Height, 4%; length, 57 inches. 


HADEN, SIR FRANCIS SEYMOUR 


86. PENTON Hook. Etching. 
Harrington, No. 70. First Trial Proof. 
Proor, Signed by the artist in pencil,—Seymour Haden; also,—Trial, 
2 only. Very Rare, only four taken. SUPERB IMPRESSION, on Japan 
paper, in perfect condition. 
Height, 6; length, 91% inches. 


[38 “ON | 
GNVIANI NI LASNOS 


NACGVH HWIOWAUS SIONVE US 


ee ce 


Yet f omylng ] 


irs z 
i 


Dee es 


ae 


WhO Se ens ESE a Geil aaa, abe a eave ian ee se eta Sifts Gf BAO OT 


SLE ALLO SR 


ee ne 


THe W. M. BuLuIvANtT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


HADEN, SIR FRANCIS SEYMOUR 


87. BRENTFORD FERRY. Ltching. 
Harrington, No. 75. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. Goop IMPREs- 
SION on Japan paper, margins foxed. 
Height, 514; length, 8% inches. 


HADEN, SIR FRANCIS SEYMOUR 


88. THE TowINnG PATH. Drypoznt. 

Harrington, No. 76. Second State of three. 

Signed on the plate,—Seymour Haden, 1564. FINE CHoicEe RicH Im- 
PRESSION, on Dutch paper, in perfect condition. 

Height, 514; length, 83% inches. 

“Mr. Haden always thought this one of his best plates—an opinion, however, in 
which he has stood, he is bound to say, pretty much alone. Whether it is the 
lady or the dog he knows not.” 


HADEN, SIR FRANCIS SEYMOUR 


89. A RIVER IN IRELAND. Liching. 
Harrington, No. 91. First State of two. 
ProoF, Signed by the artist in pencil,— Seymour Haden. SUPERB IMPRES- 
SION, on French paper. Margins trimmed inside plate-mark, as usual. 
VERY RARE. Only 12 proofs taken. 
Height, 9%; length, 1334 inches. 


From the Collection of Str JOHN Day. 


HADEN, SIR: FRANCIS SEYMOUR 


90. SUNSET ON THE THAMES. ‘itching. 
Harrington, No. 93. First State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE CLEAR 
IMPRESSION, on French paper, in perfect condition. One of the Etudes 
a l’eau-forte. 
Height, 538; length, 8% inches. 
“The effect of light is given with such magnificent force that the whole sky flames.” 


—P. G. HAMERTON, in Etchings and Etchers, Dp, 301. 
“The First State is the Best, and is now very rare. —SEYMOUR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


g1. HorsLEy’s CottacEs. Etching. 
Harrington, No. 101. Second State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMpRES- 
SION, on Dutch paper, in perfect condition. 
Height, 7; length, 97 inches. 


HADEN, SIR FRANCIS SEYMOUR 


g2. ASSIGNATION. Etching. 

Harrington, No. 109. Only Published State. 

Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
IMPRESSION, on Dutch paper. Lower plate-mark cracked, otherwise 
in perfect condition. 

Height, 814; width, 53 inches. 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


HADEN, SIR FRANCIS SEYMOUR 


93. Harry KELLEY’s PUTNEY. Etching. 
Harrington, No. 117. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. BEAUTIFUL 
IMPRESSION, on French paper, in perfect condition. 
Height, 438; length, 7 inches. 


HADEN, SIR FRANCIS SEYMOUR 


94. Mount’s Bay. Liching. 
Harrington, No. 127. Trial Proof before First State. 
Proor, Signed by the artist in pencil,—Seymour Haden; and,—March 
13, 1878. VERY FINE IMPRESSION, on French paper, in perfect condition. 
Height, 5%; length, 814 inches. 


HADEN, SIR FRANCIS SEYMOUR 


9g5. THREE SISTERS. Fiching. 
Harrington, No. 129. Second State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. BEAUTIFUL 
IMPRESSION, on Dutch paper, in perfect condition. 
Height, 5%; length, 84 inches. 
“This and The Herd were done in an old chase, in which is a hunting lodge which 


belonged to the Dukes of Northumberland. . . . It is one of our old English 
Parks.’—SEYMOUR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


96. A LIKELY PLACE FOR SALMON. Liching. 
Harrington, No. 141. First State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. BEAUTIFUL 
IMPRESSION, on French paper, in perfect condition. 
Height, 424; length, 10% inches. 


HADEN, SIR FRANCIS SEYMOUR 
97. THE Two SHEEP. Eiching. 
Harrington, No. 144. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPREs- 
SION, on French paper, in perfect condition. 
Height, 4%; length, 578 inches. 


HADEN, SIR FRANCIS SEYMOUR 


98. BREAKING Up OF THE AGAMEMNON. Etching. 
Harrington, No. 145. Second State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPRES- 
sION, on French paper, mounted down. 
Height, 714; length, 16 inches. 
“With such a subject as this for a motive, an etcher will do manly work if strength 


to doit isin him. And this is manly work. —P. G. HAMERTON. 
“Perhaps all things considered, the artist's masterpiece. —ATHERTON CURTIS. 


THe W. M. BuLLIVANT COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


HADEN, SIR FRANCIS SEYMOUR 
99. A Bric aT AnNcHorR. Etching. 
Harrington, No. 147. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPRES- 
SION, on French paper, in perfect condition. 
Height, 5%; length, 814 inches. 


HADEN, SIR FRANCIS SEYMOUR 
100. WINCHELSEA CANAL. Etching and mezzotint. 
Harrington, No. 161. First State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. SUPERB IM- 
PRESSION, on Dutch paper, in perfect condition. 
Height, 6; length, 914 inches. 


HADEN, SIR FRANGIS SEYMOUR: 
IO1. CHALLOW FARM. Drypoznt. 
Harrington, No. 175. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
EARLY IMPRESSION, on French paper, in perfect condition. 
Height, 6; length, 87 inches. 


HADEN, SIR FRANCIS SEYMOUR 
102. Dusty MILLErs. Etching. 
Harrington, No. 182. Second State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. BEAUTIFUL 
IMPRESSION, on Japan paper. Mounted down. 
Height, 534; length, 83 inches. 


HADEN, SIR FRANCIS SEYMOUR 
103. THAMES FISHERMAN (Second Plate). Héching. 
Harrington, No. 198. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. BEAUTIFUL 
IMPRESSION, on French paper, in perfect condition. 
Height, 6; lengih, 87 inches. 


HADEN, SIR FRANCIS SEYMOUR 
104. HARLECH CASTLE (Second Plate). Etching and Mezzotint. 
Harrington, No. 212. Only Published State. 
Proor, Signed by the artist in pencil,— Seymour Haden. FINE IMPREs- 
SION, on Dutch paper. 
Height, 834; length, 1214 inches. 


HADEN, SIR FRANCIS SEYMOUR 
105. THE VILLAGE Forb. 1881. Etching and Drypozint. 
Harrington, No. 216. Second State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPRES- 
SION, on French paper. Slight cardboard stain. 
Height, 7; length, 1038 inches. 


[601 °ON ] 
YASIY ATYUVAL 


NAUGVH YWIOWAUS SIONVY 


Vv 


Ul 


al 


Toe W. M. BuLuuivant COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


HADEN, SIR FRANCIS SEYMOUR 


106. A SALMON RIVER. Etching and Mezzotint. 
Harrington, No. 226. First State of two. 
Proor, Signed by the artist in pencil,—Seymour Haden. FINE IMPRES- 
sIon, on Dutch paper, in perfect condition. 
Height, 454; length, 6% inches. 


This plate was published in “Recollection of Fly Fishing,” by Edward Hamilton, 
M.D., London. 


HADEN, SIR FRANCIS SEYMOUR 


107. BREAKING UP OF THE AGAMEMNON (Second Plate.) Etching and Mezzo- 
tint. 
Harrington, No. 229. Third State of three. 
Proor, Signed by the artist in-pencil,—Seymour Haden. FINE IMPRES- 
SION, on Dutch paper, in perfect condition. 
Height, 934; length, 18% inches. 


HADEN, SIR FRANCIS SEYMOUR 


108. THE TEST AT LONGPARISH. No. 2. Etching and Mezzotint. 
Harrington, No. 233. Trial Proof A. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
IMPRESSION, on Dutch paper, in perfect condition. 
Height, 7; length, 1014 inches. 
“The Only Proof Exhibited in this country. This plate being mezzotinted on zinc 
did not wear well, and there were only two or three impressions.” HARRINGTON. 


HADEN, SIR FRANCIS SEYMOUR 


109. AN Earty Riser. Mezzotint. 
Harrington, No. 240. Second State of two. 
PRooF, Signed by the artist in pencil,—Seymour Haden. SUPERB Inm- 


PRESSION, on Dutch paper, in perfect condition. 
Height, 834: length, 117 inches. 


[See Illustration] 


“Across a shallow rocky torrent, there is seen, dimly through the mist, a stag 
with noble antlers, facing the spectator. To the left, the rising sun lights the 
surface of the flat rocks. “The whole atmosphere seems to quiver with the light 
penetrating the mists.”—HARRINGTON. 


HADEN, SIR FRANCIS SEYMOUR 
110. GRAYLING FISHING. Mezzotint. 
Harrington, No. 241. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
IMPRESSION, printed on Dutch paper, in perfect condition. 
Height, 734; length, 111% inches. 
This print won the Gold Medal of Honor, Paris, 1900. 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


HADEN, SIR FRANCIS SEYMOUR 


111. HAUNT OF THE MosouitTo. Mezzotint. 
Harrington, No. 243. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
AND BEAUTIFUL IMPRESSION, printed on Dutch paper, in perfect condi- 
tion. 
Height, 6; length, 878 inches. 


HADEN, SIR FRANCIS SEYMOUR 


112. THE PILLAR OF SALT. Etching and Mezzotint. 
Harrington, No. 246. Only Published State. 
Proor, Signed by the artist in pencil,—Seymour Haden. VERY FINE 
IMPRESSION, on Dutch paper, in perfect condition. Or THE UTMosT 
RARITY. 
Height, 87%; length, 1134 inches. 


HADEN, SIR FRANCIS SEYMOUR 


113. A SALMON POOL ON THE SPEY. Mezzotint. 

Harrington, No. 250. Trial Proof No. 2. 

Proor, Signed by the artist in pencil,—Seymour Haden. SUPERB 
IMPRESSION, on Dutch paper, in perfect condition. Only 2 or 3 proofs 
known. 

Height, 874; length, 117 inches. 

The Only Proof Exhibited in this Country. Trial Proof in Brown. Understood 
there were only three prints struck off, one in British Museum, third not known. 


Haden Mezzotint marked by artist two trial meaning the Second Proof printed. 
From the Theodore De Witt Collection. 


HADEN, SIR FRANCIS SEYMOUR 


114. ENcoMBE Woops. Charcoal drawing. 

Original drawing, cows in meadow to right, two farm horses, one with 
rider, passing along road running from right foreground towards left 
in the distance, with shrubbery and trees. 

Height, 13; length, 1914 inches. 


Probably a study for a mezzotint. 


AUGUST LEPERE 


Celebrated French Etcher and Wood Engraver. Born in Paris in November 
30th, 1849; died at Damme on November 2oth, 1918. 


LEPERE, AUGUST 


I15. CARRIERES D’AMERIQUE PRES Paris. Etching. 
Lotz-Brissonneau, No. 108. 
Proor, Signed by the artist in pencil,—A. Lepére. SUPERB EARLY IM- 
PRESSION, on Japan paper. Margin at bottom slightly rubbed, otherwise 
in perfect condition. EXTREMELY RARE. 
Height, 978; width, 524 inches. 


THe W. M. BuULLIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


LEPERE, AUGUST 


116. A GEnTILLy. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére 3rd st 11/35. VERY 
FINE IMPRESSION, on French paper. Mounted. 
Height, 75%; length, 97 inches. 


LEPERE, AUGUST 


117. ANGERS. MONTEE DE LA CATHEDRALE. Etching. 
Proor, Signed by the artist in pencil_—A. Lepére 28 /35. FINE IMPRES- 
SION, on Japan paper, in perfect condition. 
Height, 61%; length, 9% inches. 


LEPERE, AUGUST 


118. BELLE MATINEE D’AUTOMNE. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére, 17/35. VERY FINE 
IMPRESSION, on French paper, in perfect condition. 
Height, 7%; length, 113% inches. 


LEPERE, AUGUST 


119. BorDs DE LA VIE. Etching. 
Proor, Signed by the artist in pencil—A. Lepére—a muir—trst St. 
VERY FINE IMPRESSION, on Japan paper, in perfect condition. 
Height, 734; length, 954 inches. 


LEPERE, AUGUST 


120. CLisson. Etching. ; 
Proor, Signed by the artist in pencil,—A. Lepére 5/50. FINE IMPRES- 
SION, on Dutch paper. Mounted. 
Height, 6; length, 1134 inches. 


LFPERE, AUGUST 


121.. Erté DE LA St. Martin, LA Noce Qui Passe. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére 8/50. VERY FINE 
IMPRESSION, on French paper, in perfect condition. 
Height, 954; length, 1434 inches. 


LEPERE, AUGUST 


121A. La RUE GALANDE. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére 2 etate 4. VERY FINE 
IMPRESSION, on French paper, in perfect condition. 
Height, 678; width, 438 inches. 


LEPERE, AUGUST 


122. LA VIELLE PASSERELLE. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére 28/50. FINE IMPRES- 
SION, on Japan paper, in perfect condition. 
Height, 744; length, 9% inches. 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


LEPERE, AUGUST 
123. LE Bout-GENET, CREVECHUR. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére rst St. 5/8. VERY 
FINE IMPRESSION, on Japan paper, in perfect condition. 
Height, 958; width, 734 inches. 


LEPERE, AUGUST 
124. LE CREPUSCULE. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére rst St. 6/9. VERY 


FINE IMPRESSION, on Japan paper, in perfect condition. 
Height, 8%; length, 111% inches. 


LEPERE, AUGUST 
125. L’EGLISE DE Jouy LE Moutier. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére. 2nd Et. FINE IMPREs- 


SION, on Japan paper, in perfect condition. 
Height, 6%; width, 636 inches. 


LEPERE, AUGUST 
126. LE PoMMIER RENVERSE. CREVECEUR. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére rst St. 5/S. VERY 
FINE IMPRESSION, on Japan paper, in perfect condition. 
Height, 5%; length, 754 inches. 


LEPERE, AUGUST 
127. PROMENADE DU DIMANCHE, CREVECEUR. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére 36/50. FINE IMPREs- 
SION, on Japan paper, in perfect condition. 
Height, 734; length, 97% inches. 


LEPERE, AUGUST 
128. RETOUR DU TROUPEAU. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére rst St. 6/8. VERY 
FINE IMPRESSION, on Dutch paper, in perfect condition. 
Height, 978; width, 7% inches. 


LEPERE, AUGUST 
129. Rue MonrvaAIGNE, St. ETIENNE, Paris. Eéching. : 
Proor, Signed by the artist in pencil,—A. Lepére. FINE IMPRESSION, 
on Japan paper, in perfect condition. 
Height, 878; width, 456 inches. 


LEPERE, AUGUST 
130. SOLEIL COUCHANT, DERRIERE LES ARBRES. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére. FINE IMPRESSION, 
on French paper, in perfect condition. 
Height, 61%; width, 536 inches. 


THe W. M. BuLLIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


LEPERE, AUGUST 
131. VILLAGE DELA MEULE. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére 1st etat No. 9/0. 
VERY FINE IMPRESSION, on Dutch paper. Margins slightly stained, 
otherwise in perfect condition. 


Height, 734; length, 1056 inches. 


LEPERE, AUGUST 
132. VUE DELA PoRTE DELA MEULE. Etching. 
Proor, Signed by the artist in pencil,—A. Lepére 35 imp. FINE IMPRES- 
SION, on Japan paper. Mounted. 
Height, 858; length, 12% inches. 


LEPERE, AUGUST - 
133. QUAI DE HOTEL DE VILLE. Wood-engraving. 
Lotz-Brissonneau, No. 152. 
Proor, Signed by the artist in pencil,—A. Lepére. VERY FINE IMPRES- 


SION, on china paper, in perfect condition. 
Height, 6%; width, 61% inches. 


LEPERE, AUGUST 
134. BROLEURS DE FOUGERES, FONTAINEBLEAU. Wood-engraving. 
Lotz-Brissonneau, No. 160. 
Proor, Signed by the artist in ink,—A. Lepére 18/35. VERY FINE 
IMPRESSION, on china paper, in perfect condition. 
Height, 834; width, 638 inches. 


LEPERE, AUGUST 
135. LA SORTIE DE L’EXPOSITION DE 1889. Wood-engraving. 
Lotz-Brissonneau, No. 197. 
Proor, Signed by the artist in ink,—A. Lepére. VERY FINE IMPRESSION, 


on china paper, in perfect condition. 
Height, 856; width, 634 inches. 


LEPERE, AUGUST 
136. BOULEVARD PRES DU VAUDEVILLE. Wood-engraving. 
Lotz-Brissonneau, No. 201. 
ProoFr, Signed by the artist in ink,—A. Lepére 11/35. VERY FINE 
IMPRESSION, on china paper, in perfect condition. 
Height, 634; width, 558 inches. 


LEPERE, AUGUST 
137. LE MArcHE AUX PomMES. Wood-engraving. 
Lotz-Brissonneau, No. 222. 
Proor, Signed by the artist in pencil,—A. Lepére. FINE IMPRESSION, 
on china paper, in perfect condition. 
Height, 454; length, 614 inches. 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


LEPERE, AUGUST 


138. ECLUSE DE LA Monats. Wood-engraving. 
Proof, Signed by the artist in ink,—A. Lepére 23 /35. FINE IMPRESSION, 


on china paper, in perfect condition. 
Height, 1034; width, 858 inches. 


LEPERE, AUGUST 
139. LE MarcHeé A LA FERRAILLE. Wood-engraving. 
Proor, Signed by the artist in ink,—A. Lepére 23/35. VERY FINE 
IMPRESSION, on china paper, in perfect condition. 
Height, 7; length, 81% inches. 


LEPERE, AUGUST 7 
140. PETIT BRAS DE LA SEINE. Wood-engraving. 
Proor, Signed by the artist in ink,—A. Lepére 19/35. VERY FINE 
IMPRESSION, on china paper, in perfect condition. 
Height, 5; length, 71% inches. 


LEPERE, AUGUST 


141. LA SEINE AU Pont NEvF. Lithograph. 
Proor, Signed on the stone,—A. Lepére, and marked in pencil,—67 /Too. 


VERY FINE IMPRESSION, on French paper, in perfect condition, 
Height, 1354; length, 1714 inches. 


WILLIAM AUERBACH LEVY 


Contemporary American Etcher. 


LEVY, WILLIAM AUERBACH 


142. THE BLIND BEGGAR. Etching. 
Proor, Signed by the artist in pencil,—Walliam Auerbach Levy. Ist. 


Pag FINE IMPRESSION, in perfect condition. 
| 2) ; Height, 10%; width, 5% inches. 


LEVY, WILLIAM AUERBACH 


143. THE EXILE. Etching. 
Proor, Signed by the artist in pencil,—William Auerbach Levy. FINE 


6s IMPRESSION, in perfect condition. 
4 Height, 514; length, 8 inches. 


/ 


LEVY, WILLIAM AUERBACH 


144. THE JOURNEYS END. Etching. | 
Proor, Signed by the artist in pencil,—William Auerbach Levy imp. 


FINE IMPRESSION, in perfect condition. 


) / Height, 12; width, 6 inches. 


\ 4 
\ ¥) 
: 


THe W. M. Buuuivant COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


LEVY, WILLIAM AUERBACH 


145. THE NEw TALMup. Etching. 
RARE First STATE. PROOF, Signed by the artist in pencil,—Waulliam 


y, 9 Auerbach Levy, imp 1915. FINE IMPRESSION, in perfect condition. 
iy Height, 12; width, 97 inches. 


LEVY, WILLIAM AUERBACH 
146. THE PATRIARCH’S PRAYER. Etching. 
Proor, Signed by the artist in pencil,—Wdalliam Auerbach Levy imp. 
Fa FINE IMPRESSION, in perfect condition. 
9 Y : Height, 978; width, 7 9/16 inches. 


\ Edition limited to 50 impressions of which this is one of the first six. 
LEVY, WILLIAM AUERBACH 


/147. THE SCRIBE. Etching. 
4 Proor, Signed by the artist in pencil_—Walhiam Auerbach Levy imp ‘15. 
to FINE IMPRESSION, in perfect condition. 
a Height, 778; width, 10 inches. 


LEVY, WILLIAM AUERBACH 
148. THE TorAH. Etching. 


4 Proor, Signed by the artist in pencil,—zrst State. Walliam Auerbach 
eat Levy imp. FINE IMPRESSION, in perfect condition. 
ra Height, 778; width, 578 inches. 


LEVY, WILLIAM AUERBACH 
149. THE TRouBADOUR: Etching. 
Proor, Signed by the artist in pencil—Wilham Auerbach Levy, 12. 
{ FINE IMPRESSION, in perfect condition. 
Height, 9; width, 6 inches. 


LEVY, WILLIAM AUERBACH 
150. PORTRAIT Stupy. Etching. 
Proor, Signed by the artist in pencil,—Williiam Auerbach Levy, 12. 
FINE IMPRESSION, in perfect condition. 


f\» Height, 8; width, 5% inches. 


JAMES MCBEY 


Contemporary Scotch Etcher. 


McBEY, JAMES 
+ 151. IsLE or Ety. Etching. 
sf Proor, Signed by the artist in ink,—James McBey. SUPERB IMPRES- 
ar SION, on French paper. Proof, marked Azo. 
é Height, 8%; length, 1338 inches. 


JAMES McBEY 
LION BREWERY 
[No. 152] 


THe W. M. BuuuIvANntT COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


McBEY, JAMES 


LV 152. LION BREWERY. Etching. 
p Proor, Signed by the artist in ink,—James McBey. SUPERB IMPRES- 


SION, on French paper. Proof, marked X. 
Height, 1158; width, 814 inches. 


\. [See Illustration] 


Fe VAS 
eo hs AMcBEY, JAMES 
\y ae 153. NORFOLK VILLAGE. Fitching. 
ee Proor, Signed by the artist in ink,—James McBey. VERY FINE Im- 
y, PRESSION, on French paper. Proof, marked XX XIX. 
/ b \ Height, 538; length, 81% inches. 


ey 
\ : McBEY, JAMES 


A54. PENZANCE. Etching. 
L Proor, Signed by the artist in ink,—James McBey. SUPERB IMPRES- 
ip) ‘a SION, on French paper. Proof, marked XX XJ. 

; 1 ly - I ; 
ag. Height, 814; length, 12% inches. 
oS 

McBEY, JAMES 
155. THE PooL. Etching. 
| Proor, Signed by the artist in ink,—James McBey.. SUPERB IMPRES- 
/\{ : SION, on French paper. Proof, marked XJJ. 
Pe Height, 9%; length, 1414 inches. 


McBEY, JAMES 


/ 156. Quart GAMBETTA. Etching and Drypoint. 
eos Proor, Signed by the artist in ink,—James McBey. VERY FINE IM- 
fy), 2 PRESSION, on French paper. Proof, marked A106. 
As Height, 774; length, 113% inches. 


McBEY, JAMES 


\t/ 157. RICHBOROUGH CASTLE. Drypoint. 

x) Proor, Signed by the artist in ink,—James McBey. VERY FINE IMPRES- © 

D | SION, on French paper. Proof, marked XX VJ. 
Height, 7%; length, 115% inches. 


McBEY, JAMES 


, 158. ROUEN. Etching. 
/ / Proor, Signed by the artist in ink,—James McBey. SUPERB IMPRESSION, 
/ ee on French paper. Proof, marked A106. 
/ i A 0 Height, 658; length, 1438 inches. 


McBEY, JAMES 
159. RuNnsporP. Etching. 


} Proor, Signed by the artist in ink,—James McBey. SUPERB IMPRES- 
Rat: SION, on French paper. Proof, marked V. 
CNY’ Height, 478; length, 9 inches. 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


McBEY, JAMES 
160. THE SHOWER. Drypoint. 


Pd Proor, Signed by the artist in ink,—James McBey. SUPERB IMPRES- 
: SION, on French paper. Proof, marked XI. 
| | O Height, 714; length, 1214 inches. 


McBEY, JAMES 
164. STONEHAVEN. Etching. 
Proor, Signed by the artist in ink,—James McBey. VERY FINE Im- 
D Ie PRESSION, on French paper. Proof, marked XYLIV. 
\ Height, 5%; length, 77 inches. 


McBEY, JAMES 


V7 162. THE Story TELLER. Etching. 
/ Proor, Signed by the artist in ink,—James McBey. BEAUTIFUL Im- 
me PRESSION, on French paper. Proof, marked XV. 
4 


Height, 654; length, 113 inches. 


McBEY, JAMES 
163. A VIEW IN WALES. Etching. 
ats Proor, Signed by the artist in ink,—James McBey. FINE IMPRESSION, 
§ on French paper. Proof, marked XXIX. 
; Height, 47%; length, 938 inches. 


ad J 
D: J. M. W. TURNER 
Celebrated English painter, born 1775; died 1851. “The ‘Liber Studiorum’ was 
intended by Turner from the first to be a series, not of sketches, but of fully 
finished pictures; and these pictures were to illustrate his whole range of powers, 
and to embrace every sort of subject of which he considered himself master. 
... Lhe ‘Liber Studiorum’ came forth a truly monumental work, taking rank 
with the highest productions of Turner’s genius." ——-W. G. RAWLINSON. 
TURNER, J. M. W. 
163A. LIBER STUDIORUM. 71 engraved plates. 
A series of beautiful plates engraved by W. Annis, G. Clint, J. C. Easling, 
R. Dunkarton, H. Daw, T. Hodgetts, S. W. Reynolds, W. Say, C. 
Turner and J. M. W. Turner. Each plate neatly hinged at top in 
sunken mat, the series enclosed in three morocco portfolios, each with 
catch, lock and key. 
A remarkably fine set, many First STATE and PROOF IMPRESSIONS. 
This is the collection made by the artist, J. C. Hook, R.A., with finer plates 
e substituted by Mr. Dunthorne of London when they appeared on the market. 
0 Mr. Dunthorne was three years making this set up for Mr. Bullivant. This 
collection is of such great importance that we give a complete list of the same. 
O° CONTENTS 
1. Frontispiece, drawn, etched, and the centre engraved by J. M. W. Turner, 
18) border engraved by J. C. Easling. First STATE. 
© 2. Bridge and Cows, drawn and etched by J. M. W. Turner, engraved by C. 
Turner. FIRST STATE. 


Woman with Tambourine, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. First STATE. 

Flint Castle, drawn and etched by J. M. W. Turner, engraved by C. 
Turner. FIRST STATE. 

Basle, drawn and etched by J. M. W. Turner, engraved by C. Turner. 
FIRST STATE. 

Jason, drawn and etched by J. M. W. Turner, engraved by C. Turner. 
FIRST STATE. [Continued 


Oh, Py ate 


THe W. M. BuLuLIvANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


[ No. 163A. LIBER STUDIORUM.—Continued | 


7. Straw Yard, drawn and etched by J. M. W. Turner, engraved by C. Turner. 
FIRST STATE. 
8. Castle above the Meadows, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. First STATE. 
9. Mont St. Gothard, drawn and etched by J. M. W. Turner, engraved by 
C. Turner. FIRST STATE. 
10. Egremont Sea-Piece, drawn and etched by J. M. W. Turner, engraved by 
C. Turner. First STATE. 
tr. Holy Island Cathedral, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. First STATE. 
12. Pembury Mill, drawn and etched by J. M. W. Turner, engraved by C. 
Turner. FIRST STATE. 
13. Bridge in Middle Distance, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. First STATE. 
14. Dunstanborough Castle, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. First STATE. 
15. Lake of Thun, drawn and etched by J. M. W. Turner, engraved by C. 
Turner. FIRST STATE. 
16. Fifth Plague of Egypt, drawn and etched by J. M. W. Turner, engraved by 
C. Turner. First STATE. 
. 17.*Farm-Yard with the Cock, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. FIRST STATE. 
18. The Clyde, drawn and etched by J. M. W. Turner, engraved by C. Turner. 
FIRST STATE. 
19. Little Devil's Bridge over the Russ, Engraver’s proof, drawn and etched by 
J. M. W. Turner, engraved by C. Turner. SECOND STATE. 
20. Leader Sea-Piece, drawn and etched by J. M. W. Turner, engraved by C. 
Turner. FIRST STATE. 
21. Morpeth, drawn and etched by J. M. W. Turner, engraved by C. Turner. 
FIRST STATE. 
22. Juvenile Tricks, drawn and etched by J. M. W. Turner, engraved by W. 
Say. First STATE. 
23. The Hindoo Worshipper, drawn and etched by J. M. W. Turner, engraved 
by Dunkarton. FIRST STATE. 
24. Coast of Yorkshire, drawn and etched by J. M. W. Turner, engraved by 
W. Say. First STATE. 
25. Hind Head Hill, drawn and etched by J. M. W. Turner, engraved by 
Dunkarton. FIRST STATE. 
26. London from Greenwich, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. FIRST STATE. : 
27. Windmill and Lock, drawn and etched by J. M. W. Turner, engraved by 
W. Say. First STATE. 
28. Junction of Severn and Wye, drawn, etched and engraved by J. M. W. 
Turner. FIRST STATE. 
29. Marine Dabblers, drawn and etched by J. M. W. Turner, engraved by 
W. Say. First STATE. 
30. Near Blair Athol, drawn and etched by J. M. W. Turner, engraved by W. 
Say. First STATE. 
31. Lauffenbourgh on the Rhine, drawn and etched by J. M. W. Turner. 
engraved by T. Hodgetts. First STATE. 
32. Young Anglers, drawn and etched by J. M. W. Turner, engraved by 
Dunkarton. First STATE. 
33. St. Catherine’s Hill, near Guildford, drawn and etched by J. M. W. Turner, 
engraved by J. C. Easling. First STATE. 
34. Martello Towers, near Bexhill, drawn and etched by J. M. W. Turner, 
engraved by W. Say. First STATE. 
35. Inverary Pier, Loch Fyne, Morning, drawn, etched and engraved by 
J. M. W. Turner. FIRST STATE. 
36. From Spenser’s Faery Queen, drawn and etched by J. M. W. Turner, 
engraved by T. Hodgetts. FirST STATE. 
37. Water Mill, drawn and etched by J. M. W. Turner, engraved by Dunkarton. 
FIRST STATE. 
38. Woman at a Tank, drawn and etched by J. M. W. Turner, engraved by 
W. Say. FIRST STATE. 


[ Continued 


Under the 


Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


[ No. 1634. LIBER StuUDIORUM.—Continued | 


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Crypt of Kirkstall Abbey, drawn, etched and engraved by J. M. W. Turner. 
FIRST STATE. 

Mildmay Sea-Piece, drawn and etched by J. M. W. Turner, engraved by 
W. Annis and J. C. Easling. First STATE. 

Procris and Cephalus, drawn and etched by J. M. W. Turner, engraved by 
G. Clint. First STATE. 

Winchelsea, Sussex, drawn and etched by J. M. W. Turner, engraved by 
J. C. Easling. First STATE. 

Bridge and Goats, drawn and etched by J. M. W. Turner, engraved by 
F. C. Lewis. First STATE. 

Calm, drawn, etched and engraved by J. M. W. Turner. SECOND STATE. 
Peat Bog, Scotland, drawn and etched by J. M. W. Turner, engraved by G. 
Clint. First STATE. 

Rizpah, drawn and etched by J. M. W. Turner, engraved by Dunkarton. 
FIRST STATE. 

Hedging and Ditching, drawn and etched by J. M. W. Turner, engraved 
by J. C. Easling. First STATE. 

River Wye, drawn and etched by J. M. W. Turner, engraved by W. Annis. 
FIRST STATE. 

Chain of Alps from Grenoble to Chamberi, drawn and etched by J. M. W. 
Turner, engraved by W. Say. First STATE. 

Mer de Glace, Valley of Chamouni, Savoy, drawn, eichet and engraved by 
tovi. W. Lurner. First STATE. 

Rivaux Abbey, Yorkshire, drawn and etched by J. M. W. Turner, engraved 
by H. Dawe. First STATE. 

Solway Moss, drawn and etched by J. M. W. Turner, engraved by Thos. 
Lupton. First STATE. 

Solitude, drawn and etched by J. M. W. Turner, engraved by W. Say. 
First STATE. 

Mill near Grand Chartreuse, drawn by J. M. W. Turner, engraved by H. 
Dawe. FIRST STATE. 

Entrance of Calais Harbour, drawn, etched and engraved by J. M. W. 
Turner. First STATE. 

Dunblain Abbey, Scotland, drawn and etched by J. M. W. Turner, engraved 
by T. Lupton. First STATE. 

Norham Castle on the Tweed, drawn and etched by J. M. W. Turner, 
engraved by C. Turner. FIRST STATE. 

Raglan Castle, drawn and engraved by J. M. W. Turner. First STATE. 
Ville de Thun, Switzerland, drawn and etched by J. M. W. Turner, engraved 
by T. Hodgetts. First STATE. 

Source of the Averon in Valley of Chamouni, drawn and engraved by 
J. M. W. Turner. First STATE. 

Tenth Plague of Egypt, drawn and etched by J. M. W. Turner, engraved 
by W. Say. First STATE. 

Watercress Gatherers, drawn and etched by J. M. W. Turner,.engraved by 
T. Lupton. First STATE. 

Pope’s Villa, Twickenham, drawn and etched by J. M. W. Turner, engraved 
by H. Dawe. First STATE. 

Bonneville, Savoy, drawn by J. M. W. Turner, engraved by H. Dawe. 
First STATE. 

Inverary Castle and Town, drawn and etched by J. M. W. Turner, engraved 
by C. Turner. First STATE. 

Aesacus and Hesperie, drawn, etched and engraved by J. M. W. Turner. 
FIRST STATE. 

East Gate, Winchelsea, drawn and etched by J. M. W. Turner, engraved 
by W.S. Reynolds. SECOND STATE. 

Isis, drawn and etched by J. M. W. Turner, engraved by W. Say. SECOND 
STATE. 

Ben Arthur, drawn and etched by J. M. W. Turner, engraved by T. Lupton. 
SECOND STATE. 

Interior of a Church, drawn and engraved by J. M. W. Turner. First 
STATE. 

Christ and the Woman of Samaria, drawn and etched by J. M. W. Turner, 
engraved by W. S. Reynolds. First STATE. 


THe W. M. BuLuivAant COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


JAMES ABBOTT McNEILL WHISTLER 


Celebrated American painter and etcher. Born in Lowell, Mass., in 1834, died 
in London in 1903. “All his work is alike—perfect. It has only been produced 
under different circumstances and is an attempt to render different effects or 
situations. Therefore the methods vary, but the results are always the same— 
great. The greatest, most perfect, as a whole, that any etcher has ever accom- 
plished.” JOSEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


164. La RETAMEUSE. Eiching. 

Kennedy, No. 14. Second State of two. 

Signed on the plate-—Wzhistler. FINE IMPRESSION, on Japan paper w'th 
the name and address of the printer. One of the Twelve Etchings from 
Nature. Few stains. 


Height, 4 5/16; width, 3% inches. 


WHISTLER, JAMES ABBOTT-McNEILE 


165. LANDSCAPE WITH Horse. Fiching. 
Kennedy, No. 36. Second State of two. 


/ Proor, Signed on the plate,—Whistler 1859. FINE IMPRESSION, on 
a ss Japan paper, in perfect condition. 
“as 7 Height, 5; length, 8 inches. 


WHISTLER, JAMES ABBOTT McNEILL 


166. NURSEMAID AND CHILD. Fitching. 
Kennedy, No. 37. Second State of two. 
j Signed on the plate,—Whistler. VERY FINE IMpREssION, on Japan paper, 
jf in perfect condition. 
\~ Height, 374; length, 5% inches. 


“Probably done in Greenwich Park.”—JosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


167. OLD WESTMINSTER BRIDGE. Fiching. 
Kennedy, No. 39. Second State of two. 
Signed on the plate,—Whistler, 18590. VERY FINE IMPRESSION, on 
7% French paper. One of the Thames Set, a series of Sixteen Etchings. 
r | Height, 27%; length, 7 15/16 inches. 
<i Ly “One of the few plates in which the monumental architecture of London appears 
—the Houses of Parliament.”—JosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


168. BLAcK LION WuHarRF. Etching. 

Kennedy, No. 42. Third State of three. 

Signed on the plate,—Whistler, 1559. SUPERB IMPRESSION, on French 
paper, in perfect condition. One of the Thames Set, a series of Sixteen 
Etchings. 

Height, 6; length, 9 inches. 

[See Illustration] 


> “One of the greatest engraved plates that has been produced in modern times 
oe) , To me the finest of The Thames Sel, finer than anything Rembrandt ever 
etched of this sort. He (Whistler) told me he worked on the plate three weeks.” 


— JOSEPH PENNELL. 


See 


[S91 “ON | 


JUVHM NOIT MOVITa 


UATLISTHM THANPN CLOPAV SHINVE 


THe W. M. BuLuiIvant COLLECTION oF ETCHINGS 
Friday Evening, April 21st 


WHISTLER, JAMES ABBOTT McNEILL 


169. THE PooL. Eiching. 
| Kennedy, No. 43. Fourth State of four. 
/ Signed on the plate,—Whistler 1859. BEAUTIFUL ice on French 
; paper, in perfect condition. One of the Thames Set, a series of Sixteen 
O Etchings. 
o Height, 514; length, 834 inches. 


WHISTLER, JAMES ABBOTT McNEILL 


170. THAMES POLICE—WAPPING WHARF. Etching. 
Kennedy, No. 44. Third State of three. 
Signed on the plate,—Whistler, 1859. SUPERB IMPRESSION, on French 


/ paper, in perfect condition. 
oe Height, 57%; length, 87% inches. 
Ch ys “This Police Station stood until a few years ago, when rebuilt near Wapping 
< Pier. The surroundings are still much the same.’—JosEPH PENNELL. 
WHISTLER, JAMES ABBOTT McNEILL 
171. BEcQuET (The Fiddler). Eéching. 
Kennedy, No. 52. Third State of four. 
AN EXTREMELY FINE IMPRESSION, printed in black ink, on French paper, 
hg in perfect condition. One of the Thames Set, a series of Sixteen Etch- 
: S mgs. 
Bi Height, 10; width, 7% inches. 
Z \ Y “Seymour Haden, who certainly could be trusted not to overpraise Whistler’s 
YY work, said of this plate: Rembrandt never did anything finer.” 


“Becquet began life ,as a sculptor, and then became a musician . .. Whistler 
often saw him-and liked him.” —JosEpH PENNELL. 


[See Illustration] 


WHISTLER, JAMES ABBOTT McNEILL 


172. THE ForGE. Drypoint. 
Kennedy, No. 68. Fourth State of four. 
Signed on the plate,—Whistler, 1861. VERY FINE IMPRESSION, on 
? y French paper, in perfect condition. One of the Thames Set, a series of 
f > Sixteen Etchings. 
lp Height, 75%; length, 12% inches. 
“A swift vivid impression concerned primarily with firelight’s capricious effects 


of picturesque contrast, one of Whistler’s earliest drypoints, shows his genius 
in another aspect.”—M. C. SALAMAN. 


WHISTLER, JAMES ABBOTT McNEILL 
173. THE LITTLE PooL. Eiching. 
Kennedy, No. 74. Eighth State of eight. 
a Signed on the plate,— Whistler, 1861. FINE IMPRESSION, on French paper, 
‘ in perfect condition. One of the Thames Set, a series of Sixteen Etchings. 
§ ; Height, 4; length, 47% inches. 


“The figures are Sergeant Thomas and Whistler himself.”—JoszpH PENNELL. 


JAMES ABBOTT McNEILL WHISTLER 


BECQUET 
~ [No.171] 


Toe W. M. BULLIVANT COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


WHISTLER, JAMES ABBOTT McNEILL 


174. EARLY MorNING, BATTERSEA, or, CADOGAN PIER. Eiéching. 
Kennedy, No. 75. Only State. 
Signed on the plate,—Whistler. FINE IMPRESSION, on French paper, in 
perfect condition. One of the Thames Set, a series of Sixteen Etchings. 
Height, 434; length, 6 inches. 


oye 
4 } “A poetical etching of the river off Battersea in the morning mist, when a common 
YY grayness silvers everything.” —T. R. Way. 
WHISTLER, JAMES ABBOTT McNEILL 
175. LITTLE VENICE. Hiching. 
Kennedy, No. 183. Only State. 
Proor, Signed by the artist in pencil, with the Butterfly imp. VERY 
f FINE IMPRESSION, on Japan paper, with margins, in perfect condition. 
oO! Printed by Whistler. One of Venice, a Series of Twelve Etchings. 
1, eS Height, 714; length, 103 inches. 
Ay “The drawings of the posts—equally remarkabie—should be compared with 
} Millbank done twenty years before.” JOSEPH PENNELL. 
[See Illustration] 
WHISTLER, JAMES ABBOTT McNEILL 
176. THE Doorway. Fiching. 
; Kennedy, No. 188. Sixth State of seven. 
/ Proor, Signed by the artist in pencil, with the Butterfly imp. VERY 
FINE IMPRESSION, on French paper, in perfect condition. Printed by 
Whistler. One of Venice, a Series of Twelve Etchings. 
(y Height, 11%; width, 8 inches. 

\ ; “A beautiful view of what has once been a palace. . . . The fine architecture of 
the exterior, with the rich drapery of the windows, is very beautifully indicated, 
and the water in the foreground is wonderfully transparent.”—T. R. Way. 

WHISTLER, JAMES ABBOTT McNEILL 
177. THE BEGGARS. Etching. 
Kennedy, No. 194. Third State of nine. 
Proor, Signed by the artist in pencil, with the Butterfly imp. SUPERB 
IMPRESSION, on French paper, in perfect condition. Printed by 
Whistler. One of Venice, a series of Twelve Etchings. 
/ Height, 12; width, 814 inches. 
or “And when one comes to think of it, there are, as for instance in those dark alleys 
Q 12) of the Venetian Set... passages of luminous shadow which Rembrandt 
, never approached in the Burgomaster Six or in any similar subject.” JOSEPH 
\ \ ie, PENNELL. 
\<_ ; 
\ [See Illustration] 
WHISTLER, JAMES ABBOTT McNEILL 
178. UPRIGHT VENICE. Eiching. 
Kennedy, No. 205. Second State of four. 
Filed Proor, Signed by the artist in pencil, with the Butterfly imp. VERY 
a FINE IMPRESSION, on French paper, in perfect condition. Printed by 
rn we Whistler. One of Venice, a series of Twenty-six Etchings. 


A O Height, 10; width, 7 inches. 


JAMES ABBOTT McNEILL WHISTLER 


LITTLE VENICE 


[No. 175} 


THe W. M. Buuuivant COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


} WHISTLER, JAMES ABBOTT McNEILL 


179. THE RIALTO. Eiching. 
of, Kennedy, No. 211. First State of two. 
Proor, Signed by the artist in pencil,—with the Butterfly imp. SUPERB 
IMPRESSION, on French paper, in perfect condition, printed by Whist- 
J\, ler. One of Venice, a series of Twenty-six Etchings. 
NI Height, 1144; width, 77 inches. 
eo 


This plate gives quite an extraordinary effect of sunshine. 


WHISTLER, JAMES ABBOTT McNEILL 


| 180. NOCTURNE: FURNACE. Etching. 

VA Kennedy, No. 213. Fifth State of seven. 

f Proor, Signed by the artist in pencil, with the Butterfly imp. SUPERB 
al IMPRESSION, on French paper, in perfect condition. Printed by Whist- 
) ( ler. One of Venice, a series of Twenty-six Etchings. 


of \ Height, 658; length, 9% inches. Beh 
/ x “A marvelous piece of chiaroscuro . . . to be compared only with the very finest 
ee impressions of the Forge and the Little Forge.” —FREDERICK WEDMORE. 
teeny ae : 
\ [See Illustration] 
c\ ore 
\ ~ 
ec WHISTLER, JAMES ABBOTT McNEILL 


181. FisH-SHop, Busy CHELSEA. Etching. 
Kennedy, No. 264. First State of two. 
Proor, Signed by the artist in pencil, with the Butterfly. SUPERB 
IMPRESSION, on French paper. Printed by Whistler, in perfect condi- 
tion. Mounted. . 
Height, 534; length, 834 inches. 


Done for the Royal Society Artists, 1886, when Whistler was President of same. 


WHISTLER, JAMES ABBOTT McNEILL 


182. ZAANDAM. Etching. 
Kennedy, No. 416. First State of two. 
ProoFr, Signed by the artist in pencil, with the Butterfly imp. SUPERB 
IMPRESSION, on French paper, in perfect condition. Printed by 
Whistler. VERY RARE. 
Height, 514; length, 858 inches. 


WHISTLER, JAMES ABBOTT McNEILL 


183. THE DANCING GIRL. Lithograph. 
Way, No. 30. 
Proor, Signed by the artist in pencil with the Butterfly. VERY FINE 
IMPRESSION, in perfect condition. 
Height, 724; width, 534 inches. 
“A typical example drawn with the fewest lines . . . yet so clearly and so firmly 


put down—the little figure, so full of suggested movement, seems to be but a 
passing thought of his mind.”—T. R. Way. 


JAMES ABBOTT McNEILL WHISTLER 
THE BEGGARS 
[No. 177] 


THe W. M. BuLuIvANT COLLECTION OF ETCHINGS 
Friday Evening, April 21st 


WHISTLER, JAMES ABBOTT McNEILL 


184. THE GARDEN. Lithograph. 

Way, No. 38. 

Proor, Signed by the artist in pencil with the Butterfly. VERY FINE 
IMPRESSION, on Japan paper. Mounted. 

Height, 634; length, 73 inches. 

“A drawing of a group of friends round a tea-table in the garden of Mr. Whistler’s 
house in Cheyne Walk. The names of the people forming this group are Mrs. 
Brandon Thomas at the left of the settee, Mr. Starr and Mr. Brandon Thomas 


at the right end, between them Mr. Walter Sickert is standing, and on the 
right Mrs. Whistler and Miss Phillip are seated.”—-T. R. Way. . 


WHISTLER, JAMES ABBOTT McNEILL 


185. LES BONNES, LUXEMBOURG. Lithograph. 
Way, No. 48. 
Signed in the stone with the Butterfly. Fine impression, in perfect con- 
dition. Printed by Way. 
Height, 778; width, 6% inches. 
“The student of this delicate and fastidious art, once familiarized with the medium 


as Whistler used it, will recognize its peculiar appropriateness to what Mr. Way 
has truly called his great gift of exquisite vision.” ELIZABETH LUTHER CARY. 


WHISTLER, JAMES ABBOTT McNEILL 


186. THE THAMES. Lithotint, done on one stone. 
Way, No. 125. First State of three. 
Proor, Signed on the stone with the Butterfly. SUPERB IMPRESSION, in 
perfect condition. Printed by Way. 
Height, 10%; width, 75 inches. 
From the Way and Benedict Collections. 
The finest Impression I have ever seen.” ——H. H. BENEDICT. 
“This beautiful iithotint occupies a unique position among the landscape subjects 
executed in lithography. It might not be too much to say that it is the finest of 


them all. Whistler’ s exquisite feeling for values was perhaps never shown to 
better advantage.” —KEPPEL. 


[See Illustration] 


WHISTLER, JAMES ABBOTT McNEILL 


187. THE SHOEMAKER. Lithograph. 
Way, No. 151. 
Signed on the stone with the Butterfly. VERY FINE IMPRESSION. Mount- 
ed. 
Height, 61%; length, 834 inches. 


Printed in Paris. 


WHISTLER, JAMES ABBOTT McNEILL 


188. HALF-LENGTH PORTRAIT OF WHISTLER, WITH WHITE Lock. Lithograph. 
By Thomas R. Way. PRoor, signed by the artist in pencil,—Thomas R. 
Way. FINE IMPRESSION, in perfect condition. 
Height, 8%; width, 5% inches. 


[OSI ON] 


GHOVNYNA *ANYOLOON 


UATLSTIOHM TITHNIN LLOPdV SHNVE 


EGR Je 
Siig nso 


THe W. M. BuLuIvAnt COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


WHISTLER, JAMES ABBOTT McNEILL 


189. Half-length Portrait of Whistler. Drypoznt. 
Etched by Paul Helleu. Proor, signed by the artist in pencil,—Helleu. 
FINE IMPRESSION, in perfect condition. 
Height, 1314; width, 10 inches. 


VERY RARE. Only 12 impressions for America. 


WHISTLER, JAMES ABBOTT McNEILL 


190. Bust Portrait of Whistler, with White Lock. Drypoint. 
Etched by Mortimer Menpes. Proor, signed by the artist in ener 
Mortimer Menpes, imp. FINE IMPRESSION, in perfect condition. 
Height, 614; width, 5% inches. 


WHISTLER, JAMES ABBOTT McNEILL 


191. Portrait Sketches of Whistler. Etching. 
Etched by Mortimer Menpes. Proor, signed be the artist in pencil,— 
Mortimer Menpes, imp. FINE IMPRESSION, in perfect condition. 
Height, 714; width, 5% inches. 


A group of eight characteristic poses. 


WHISTLER, JAMES ABBOTT McNEILL 


I91A. THE ETCHED WorK OF WHISTLER, Compiled and Arranged and Described 
by Edward G. Kennedy. With an Introduction by Royal Cortissoz. 
New York: Grolier Club, 1910. 
Illustrated by reproductions in collotype of the different states of the plates. 
One volume of text (4to); and five volumes of plates (royal 4to), com- 
prising over 1000 reproductions. Together, 6 vols. half olive green 
crushed French !evant morocco, gilt fillet bands on sides, full gilt 
panelled backs, gilt tops, uncut, BY RIVIERE. 


Edition limited to 402 copies printed on Old Stratford paper, at the ive Vinne 
Press. 

EXTREMELY RARE, indispensable for the Whistler Collector. With the supple- 
mentary plate “Nocture Furnace,” No. 213. 

The most exhaustive publication that has appeared on the etched work of Whist- 
ler. There are 446 etchings, chronologically described, many with the assistance 
of Whistler, or from memoranda left by him; prints have been measured, and 
the variations in size marked. A complete list of the plates known to have been 
destroyed or cancelled, is included, with an addition list of 82 plates, which 
from their rarity may be assumed to have passed out of existence. Many of 
the cancelled plates are reproduced; together, over 1000 reproductions of the 
various plates. 

The Author in his Notes gives a very interesting account of his interview with 
Whistler concerning the proposed catalogue which resulted in securing his 
hearty consent and cooperation. 


Pee 
aoe 


ces abit 
era 


JAMES ABBOTT McNEILL WHISTLER 
THE THAMES 
[No. 186] 


THe W. M. BuLuuiIvAant COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


WHISTLER, JAMES ABBOTT McNEILL 


I9IB. PASSAGES FROM MODERN ENGLISH Poets. Illustrated by the Junior 

Etching Club. London: Day and Son [1862]. 

With 47 etched plates, including two by Whistler. 

Folio, cloth, gilt, gilt edges, leaf of Preface and one plate loose, margins 
of several plates and pages of text spotted. 

LARGE PAPER Copy, WITH PROOFS ON INDIA PAPER. SCARCE. The plates by 
Whistler are Nos. 7 and 45,—The Angler and A River Scene, best known as 
The Punt and Sketching. 


Among the names of members of this eminent Etching Club may be noted,— 
John Tenniel, J. E. Millais, A. J. Lewis, Walter Severn, and others. 


WHISTLER, JAMES ABBOTT McNEILL 
191c. THE LITHOGRAPHS BY WHISTLER. Arranged According to the Catalogue 

by Thomas R. Way. With Additional Subjects not before Recorded. 
New York: Kennedy and Co., 1914. 

Illustrated by 168 full-page reproductions in photogravure and lithography. 

Royal 4to, wrappers, uncut. Plates unbound. Enclosed in buckram 
portfolio, with ties. 

Edition of this Catalogue limited to 400 copies. 


ANDERS ZORN- 


Swedish painter and etcher. Born at Mora in Dalecarlia in 1860. “But it is in 
his etchings that the art of Anders Zorn is seen in its highest vigor, creativeness 
and sureness of hand, whether these etchings be done directly from nature or are 
transcriptions of his masterly paintings. Lines apparently scribbled at random, 
and which might seem to harshly gash the copper-plate, result in a whole, which 
is strong, clear, and vivid, and the etchings present pictures expressing the most 
delicate and fleeting phases of expression and gesture.” —HENRI MARCEL. 


ZORN, ANDERS 
192. EN OmniBus. Etching. 
Asplund, No. 72. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn. SUPERB IMPRESSION, on 
Dutch paper. Mounted. 
Height, 107%; width, 734 inches. - 


ZORN, ANDERS 
193. THE Toast. Etching. 

Asplund, No. 80. Fifth State of five. 

Proor, Signed by the artist in pencil,—Zorn. BRILLIANT IMPRESSION, 
on Dutch paper, in perfect condition. There were about seventy proofs 
taken, and the plate destroyed. 

Height, 1244; width, 10% inches. 


[See Illustration] 


( 
f 


ANDERS ZORN 


THE TOAST 


193] 


[ No. 


Toe W. M. BULLIVANT COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


ZORN, ANDERS 
194. HENRY MARQUAND. Etching. 
Asplund, No. 81. Only State. 
Proor, Signed by the artist in pencil,—Zorn. SUPERB IMPRESSION, on 
Dutch paper, in perfect condition. 
Height, 1078; width, 734 inches. 


[See Illustration] 


ZORN, ANDERS 
195. AN IRISH GIRL or ANNIE. Etching. 
Asplund, No. 85. Only State. 
Proor, Signed by the artist in pencil,—Zorn. VERY FINE IMPRESSION, 
in black ink, on Dutch paper, in perfect condition. 
Height, 11; width, 778 inches. 


[See Illustration] 
One of the artist’s best etchings. 


ZORN, ANDERS 


196. AUGUSTUS SAINT GAUDENS. I. Etching. 
Asplund, No. 113. Second State of two. 
Proor, Signed by the artist in pencil,—Zorn. VERY FINE IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 51%; length, 734. inches. 


ZORN, ANDERS 


197. KING OSCAR OF SWEDEN (Second Plate). Hiching. 
Asplund, No. 132. Second State of two. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 934; width, 7 inches. 


ZORN, ANDERS 
198. GROVER CLEVELAND. (Second Plate.) Etching. 
Asplund, No. 144. Fourth State of four. 
Proor, Signed by the artist in pencil,—Zorn. FINE IMPRESSION, on 


Dutch paper, in perfect condition. VERY RARE 
Height, 834; width, 678 inches. 


ZORN, ANDERS 


199. A SwEpDISH MADONNA. Etching. 
Asplund, No. 151. Fourth State of four. 
Proor, Signed by the artist in pencil,—Zorn. FINE IMPRESSION, on 
Dutch paper, in perfect condition. 
Height, 934; width, 734 inches. 


oe 


ANDERS ZORN 


HENRY MARQUAND 


[No. 194] 


Sate ae! 


THE 


W. M. BuuuiIvAant COLLECTION OF ETCHINGS 


Friday Evening, April 21st 


ZORN, 


200. 


ZORN, 


201. 


ZORN, 


ANDERS 
PRINCESS INGEBORG OF SWEDEN (Second Plate). Etching. 
Asplund, No. 154. Fifth State of five. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 1178; width, 81 inches. 


ANDERS 
THE NEw BALLAD. Etching. 
Asplund, No. 171. Only State. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, 
printed i in black ink, on Dutch paper, in perfect condition. 
Height, 57%; length, 9 inches. 


ANDERS 


202. JOHN Hay. Etching. 


ZORN, 


203. 


ZORN, 


204. 


ZORN, 


205. 


ZORN, 


206. 


Asplund, No. 179. Third State of three. 

Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, 
on Dutch paper, in perfect condition. 

Height, 778; width, 6 inches. 


ANDERS 
BeETTy NANSEN. Etching. 
Asplund, No. 190. Fourth State of four. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 934; width, 7 inches. 


ANDERS 
THE MASTER-SMITH. Etching. 
Asplund, No. 215. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn. FINE IMPRESSION, on 
Dutch paper, in perfect condition. 
Height, 734; width, 57 inches. 


ANDERS 
AurRoRA. Etching. 
Asplund, No. 221. Fourth State of four. 
Proor, Signed by the artist in pencil,—Zorn. VERY FINE IMPRESSION, 
on Dutch paper, in perfect condition. 


Height, 734; width, 57 inches. 


ANDERS 
Mona. Etching. 
Asplund, No. 242. Third State of three. 
PROOF, Signed by the artist in pencil,—Zorn. VERY an IMPRESSION, 
printed i in brown ink, on Dutch paper, in perfect condition. 
Height, 934; width, 694 inches. 


ee ageiaiae 9 ES 
ee 


Ses Secon see 


iets A 


Se ta 8 


ANDERS ZORN 
L’ IRLANDAISE—“ ANNIE” 


[No.195] 


THe W. M. BULLIVANT COLLECTION oF ETCHINGS 


Friday Evening, April 21st 


ZORN, ANDERS 
207. Dyos Matz. EHiching. 
Asplund, No. 243. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn. FINE IMPRESSION, on 
Dutch paper, in perfect condition. 
Height, 7; width, 434 inches. 


ZORN, ANDERS 
208. SKERRI-KULLA. Etching. 
Asplund, No. 247. Second State of two. 
Proor, Signed by the artist in pencil,—Zorn. FINE CLEAR IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 934; width, 734 inches. 


Many of the impressions of this plate were somewhat blurred in the printing. 


ZORN, ANDERS 
209. A LETTER. Etching. 

Asplund, No. 254. Second State of two. 

Proor, Signed by the artist in pencil,—Zorn. SUPERB IMPRESSION, in 
black ink, on Dutch paper, in perfect condition. 

Height, 614; width, 4% inches. 

Some of the impressions of this plate are printed in red ink, but those in black 
are preferable. 


ZORN, ANDERS 
210. FRIDA. Etching. 
Asplund, No. 263. Only State. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION 
on Dutch paper, in perfect condition. 
Height, 734; width, 534 inches. 


ZORN, ANDERS 
211. CROWN-PRINCESS MARGARET OF SWEDEN, Etching. 
Asplund, No. 264. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 934; width, 7 inches. 


ZORN, ANDERS 
212. SELF-PORTRAIT IN FuR Coat. Etching. 
Asplund, No. 270. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn, BEAUTIFUL IMPRESSION, 
on Dutch paper, in perfect condition. 
° Height, 7; width, 434 inches. 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


ZORN, ANDERS 
2132. CABIN. Etching. 
Asplund, No. 279. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn. FINE IMPRESSION, on 
Dutch paper, in perfect condition. 
Height, 1158; width, 77 inches. 


This plate is considered to be one of the finest etched in recent years. 


ZORN, ANDERS 
214. CABIN. Etching. 
Asplund, No. 279. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn. VERY FINE IMPRESSION, 


on Dutch paper, in perfect condition. 
Height, 1158; width, 77 inches. 


ZORN, ANDERS 
eee uit. No. 2.. Eiching. 
Asplund, No. 280. Third State of three. 
Proor, Signed by the artist in pencil,—Zorn. FINE IMPRESSION, on 
Dutch paper, in perfect condition. 
Height, 778; width, 57% inches. 


This is considered to be one of the finest of 'Zorn’s recent plates. 


ZORN, ANDERS 
216. VICKE. Etching. 
Asplund, No. 281. Third State of four. 
Proor, Signed by the artist in pencil,—Zorn. FINE RICH IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 734; length, 1158 inches. 


This is considered to be one of the most brilliant of Zorn’s recent plates. 


ZORN, ANDERS 
217. DALECARLIAN PEASANT. Liching. 
Asplund, No. 283. Only State. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, on 


Dutch paper, in perfect condition. 
Height, 614; width, 45 inches. 


ZORN, ANDERS 
218. DALECARLIAN PEASANT. Etching. 
Asplund, No. 283. Only State. 
Proor, Signed by the artist in pencil,—Zorn. BEAUTIFUL IMPRESSION, 
on Dutch paper, in perfect condition.. 
Height, 6144; width, 454 inches. 


THe W. 


Friday Evening, April 21st 


ZORN, ANDERS 
219. DAL RIvER. Etching. 


Asplund, No. 284. Only State. 


Proor, Signed by the artist in pencil,—Zorn. 


Dutch paper, in perfect condition. 


Height, 7; width, 4% inches. 


ZORN, ANDERS 
220. DAL RIVER. Etching. 


Asplund, No. 284. Only State. 


Proor, Signed by the artist in pencil,—Zorn. 


Dutch paper, in perfect condition. 
Height, 7; width, 4% inches. 


ZORN, ANDERS 


Zoe 


Oxts MariA. Etching. 
Asplund, No. 286. Second State of two. 


Proor, Signed by the artist in pencil,—Zorn. 


Dutch paper, in perfect condition. 
Height, 758; length, 11% inches. 


ZORN, ANDERS 
222. Ots Maria. Etching. 


Asplund, No. 286. Second State of two. 


Proor, Signed by the artist in pencil,—Zorn. 


Dutch paper, in perfect condition. 
Height, 71%; length, 111% inches. 


ZORN, ANDERS 
223. OLs Maria. Etching. 


Asplund, No. 286. Second State of two. 


Proor, Signed by the artist in pencil,—Zorn. 


Dutch paper, in perfect condition. 
Height, 754; length, 11% inches. 


ZORN, ANDERS 
224. BALANCE. Etching. 


Asplund, No. 287. Only State. 

Proor, Signed by the artist in pencil,—Zorn. 
on Dutch paper, in perfect condition. 

Height, 6%; width, 4% inches. 


ZORN, ANDERS 
225. AGAINST THE CURRENT. Etching. 


Asplund, No. 288. Second State of two. 

Proor, Signed by the artist in pencil,—Zorn. 
Dutch paper, in perfect condition. 

Height, 4%; length, 61% inches. 


M. BULLIVANT COLLECTION OF 


FINE 


FINE 


FINE 


FINE 


FINE 


ETCHINGS 


IMPRESSION, 


IMPRESSION, 


IMPRESSION, 


IMPRESSION, 


IMPRESSION, 


on 


on 


on 


on 


BEAUTIFUL IMPRESSION, 


BEAUTIFUL IMPRESSION, 


Under the Management of the American Art Association 


Kindly read the Conditions of Sale Printed in forepart of this catalogue 


IGNACIO ZULOAGA 
Celebrated Spanish painter, born at Eivar, Spain, July 26, 1870. 


ZULOAGA, IGNACIO 
226. MANo.as. Etching. 
Proor, Signed by the artist in pencil,—Zuloaga. FINE IMPRESSION, in 
perfect condition. 
Height, 978; width, 81% inches. 
Only etching executed by this artist. 


227. HAMERTON (PHILIP GILBERT). Etching and Etchers. Third Edition. 
Numerous full-page etchings, vignette on title proof on India paper. 
Small folio, half morocco, uncut. London, 1880 


228. PENNELL (JOSEPH AND ELIZABETH Rosins). Lithography and Lithogra- 
phers. Some Chapters in the History of the Art, with Technical Remarks 
and Suggestions. Extensively illustrated with full-page and text repro- 
ductions from the works of Horace Vernet, Isabey, P. Delaroche, Frago- 
nard, E. Lami, H. Monnier, C. Nanteuil, J. Dupré, Gavarni, W. Blanke, 
James Ward, G. Cattermole, Sargent, Whistler, and other masters of the 
art. Royal 4to, vellum boards, gilt top, uncut. 

New York and London, 1898. 
This copy is No. 77 of a Special Edition for America. 
Contains 4 illustrations by Whistler, viz,—“The Thames;” “St. Giles’s, Soho;” 
“The Smith, Passage du Dragon;” and “Portrait of Joseph Pennell.” 
This book also contains Original Lithographs by,— Whistler, A. Legros, W. Strang, 
C. H. Shannon, A. Lunois, J. McLure Hamilton, and T. R. Way. 


229. Propert (J. L.). A History of Miniature Art, with Notes on Collectors 
and Collections. Extensively illustrated with photogravure reproductions 
from Missals and Illuminated Mss. and the works of Holbein, Oliver, 
Cooper, Cosway, and the various masters of the different schools and 
periods of miniature art. Royal 4to, cloth, gilt, entirely uacut, binding 
rubbed at edges, leaf of frontispiece loose. 

London: Macmillan and Co., 1887. 


A standard work on Miniature Art. 


THE AMERICAN ART ASSOCIATION, 
MANAGERS. 


THOMAS E. KIRBY, 
AUCTIONEER. 


INTELLIGENT APPRAISALS 
FOR 
WME STATES AND STATE TAx 


INSURANCE AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


APPRAISEMENTS AND INVENTORIES 


OF 


ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
AND PERSONAL EFFECTS OF 
EVERY DESCRIPTION 


AT CHARGES COMMENSURATE 
WITH THE DUTIES INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 
NEW YORK 
TELEPHONE, 3340 GRAMERCY 


a ed rs 5 


$22 Apr.21NeAmBc1 if 
American /Masterpieces of modern 


_ 87-P 16572 


! 


COLLECTED BY "amg 

WILLIAM M. BULLIVAN 

OF BOSTON, MASS, 

/. 17 (\ \s 
THE AMERICAN ART ASSOCIAT: 

; AMERICAN ART GALLERIE 
ne _ MADISON SQUARE SOUTH 
} | NEW YORK CITY 

62275 


